After decolonization: Australia and the emergence of the non-aligned movement in Asia, 1954-55

This article is a study of the response of the Australian government under Robert Menzies to the emergence of the Afro-Asian movement in the mid-1950s, especially the element of the non-aligned nations, which culminated in the Bandung meeting of April 1955. Non-alignment and anti-colonialism posed direct threats to the Menzies government's plans for the defence of Southeast Asia and its foreign policy for the region. The study of the Australian response to the Bandung meeting reveals the different legacies which European imperialism left behind in Australia compared with its neighbours in south and east Asia.

Easy, cheap and true : the case for promoting the Curwen method of teaching choral singing in developing countries

The Curwen method (Tonic Sol-fa) was developed by the Rev. John Cunven in England from the 1840s originally as a means of teaching music reading from staff notation. However, in the 1872 Standard Course, staff notation was dispensed with altogether in favour of Tonic Sol-fa "letter" notation. By the end of the century, Tonic Sol-fa had spread from Britain to many overseas countries. Although aspects were later incorporated into staff-based teaching
systems such as the Kodaly approach and the "New Curwen Method", Tonic Sol-fa in its late nineteenth century ' form has been "extinct" in Britain for several decades. Nevertheless, it is "alive and well", indeed flourishing, in certain African, Asian and Pacific countries. This paper analyses the Tonic Sol-fa system in terms of contemporary pedagogical practice and notational theory. The paper also reports on the use of Tonic Sol-fa in two countries - South Africa and Fiji - where it is now the mainstay of community choral music. It is argued that, particularly for developing countries, the Curwen method and its letter notation should be seriously considered as an alternative to staff notation methods as a highly effective means of promoting school and community choral singing.

Cross cultural engagement: teaching African music to Australian students

This paper reports on research that examined the effectiveness of introducing rhythmic concepts through an unfamiliar musical genre to Australian generalist prim my teacher education students. The genre selected was African music, in particular action songs, dance and instrumental improvisation. The methodologies of Orff, Kodaly and Dalcroze were taught through the repertoire of African music in order to foster a closer relationship between pedagogical theory and practice and to teach rhythm through cross-cultural engagement. Through analyses of questionnaire and interview data, it was demonstrated that African music had a positive effect on students' conjidence as non-specialists music teachers and enhanced their skills in staff, sol-fa, hand notation and performance. Also students were not only highly motivated to engage with this new musical genre, but also gained an increased understanding of African culture. It is argued that African music was perceived by students not so much as a "novelty", but as a source of genuine motivation, interest and enjoyment. Its potential for extending student understanding of rhythm as well as taking a significant step towards internationalizing the curriculum for a cohort of predominantly Anglo-Celtic, pre-service teachers is also explored.

A conformity test of corporate financial disclosures in Asian and Middle East countries

This paper investigates the financial disclosure practices of corporate annual reports published in Asian countries including Bangladesh, Indonesian, Malaysia and the Middle East countries including Bahrain, Iran, Jordan, Kuwait, Oman, Pakistan, Qatar, Saudi Arabia and Turkey. The purpose of the study is to measure the financial disclosure diversity in these countries, with a view to developing a classification of their similarities and differences in respect to their compliance with International Accounting Standards (IASs). Annual reports of 132 public companies listed on the relevant countries stock exchanges are the central data source, supplemented with other reliable information about financial disclosure practices in each country. A disclosure checklist adopted from all IASs and summarised in 306 individual items of financial disclosures is used as a means of extending an understanding of financial reporting literature. Additionally, it provides an indication of voluntary progress towards harmonisation of international accounting practices in several Asian and Middle Eastern countries. Results show the degree of conformity with IASs from less to high conformity is: Saudi Arabia, Qatar, Bangladesh, Iran, Bahrain, Jordan, Pakistan, Oman, Turkey, Malaysia, Kuwait and Indonesia.

Colonial designs: Thomas Karsten and the planning of urban Indonesia

Thomas Karsten (1885 – 1945) is undoubtedly a major figure in the history of architecture and town planning in Indonesia. Between 1915 and 1941 he was involved in town planning in 12 of the 19 municipalities and towns in Java (the most prominent exception being Surabaya) 3 of the 9 towns in Sumatra, and the only town in Borneo This paper does not attempts to investigate or question his importance in this field but to place his architectural and town planning ideas in the context of his broader politico-cultural ideas and activities in the Dutch East Indies between 1914 and 1942, and these, in turn, in the context of an evolving colonialism and colonial discourse.

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.