Sharing ownership in multicultural music : a hands-on approach in teacher education in South Africa

South Africa prides itself in a rich and colorful array of the Arts where music plays a significant role in social regeneration, unity and reconciliation. Little research has been undertaken in teacher education courses in South Africa regarding the inclusion of African music within multicultural music practice. Using the theoretical frameworks of understanding multiculturalism, I report on the teaching and learning of multicultural music at Pretoria University. My narrative highlights what I had learned and reports on the interview data with the tertiary music educator in October 2010. Using Interpretative Phenomenological Analysis, two themes are discussed: the need for multicultural music and the inclusion of students as indigenous culture bearers. Lessons learnt at Pretoria University can be replicated elsewhere in Australia where the sharing of ownership in multicultural music as a hands-on approach is viewed positively, promoting understanding and respect in a shared space and place.

Moving to the rhythm of Africa : a case study of a tertiary educator's understanding of multicultural dance in teacher education

Australia is proud of its rich and varied array of the Arts depicting a range of cultural diversity formed by ongoing migration. Although the complex issues of dance, culture and identity are interconnected, forming a multicultural society in Australia, dance education is a powerful platform to transmit and promote togetherness where understanding and respect is shared in dance practice. The focus of this article is on dance education as part of multicultural arts education within teacher education courses at Deakin University (Melbourne) Australia. It forms part of my ongoing wider study that started in 2010 regarding Attitudes and perceptions of Arts Education Students: Preparing culturally responsive teachers across two continents (Australia and South Africa). In 2011, I interviewed the dance educator and will report on two themes from her interview data: multicultural dance and the inclusion of African dance within multicultural dance practice. I argue that the inclusion of innovative and immersive practice of dance where authentic teaching and learning can be facilitated is a powerful platform to share multicultural dance practice in tertiary education.

Experiencing indigenous East African dance songs : reflections from North West University (South Africa)

After democracy (1994) the doors of teaching and learning in music opened widely to include local indigenous music and culture in South Africa. Since 2005, African music has been a vibrant aspect of the music curriculum within the School of Music, North West University, South Africa. Globally tertiary music educators are challenged to include informal pedagogy of indigenous musics within the formal context of university courses. University music courses in South Africa are still predisposed towards ‘western’ music pedagogies. In October 2012, the School of Music invited a visiting expert in African music and dance to offer onsite teaching and learning of Ugandan dance songs to tertiary students. The initiative to include Ugandan music as part of the teaching and learning workshops on African music at the School of Music was funded by the South African Music Rights Organization. The School of Music has an ongoing policy to invite and include culture bearers to share their skills and expertise with students and academics. Such sharing provides culture bearers the opportunity to transmit much needed skills, which are not often offered by academics. UNESCO (2012) identifies scarce knowledge and skills as intangible heritage.

Multimodal theatre experiences : Africa and 2 dimensional life of her

Australia’s theatre for young audiences (TYA) has concentrated on young people’s interest in techno-savvy narrative complexities since the early 1990s, and has done so with positive outcomes. Building from a reflective inquiry, which is based on a TYA practitioner’s viewpoint, I explore two Australian contemporary theatre productions for mixed audiences: My Darling Patricia’s Africa (2011) and Fleur Elise Noble’s 2 Dimensional Life of Her (2011), which utilize old and new technologies for differing purposes. I present the following article in two parts: The first section briefly contextualizes TYA plays in Australia using digital technologies, along with a review of the literature that introduces an ongoing dialogue about digital media in theatre. The second part showcases the creative development process and the synopsis of Africa and 2 Dimensional Life of Her before I discuss the use of old technology in Africa in the form of a techno-tele-character, and the impact of new technologies in 2 Dimensional Life of Her as a transmediated theatrical occurrence. Recommendations are made for ways that TYA practitioners might consider mixing old and new technologies with the live to compete in the cultural marketplace.

Board diversity or gender diversity? Perspectives from Europe, Australia and South Africa

Board diversity has been a hot topic for several years. However, it is only in recent years that pertinent questions have been asked about what is actually meant by board diversity and what would constitute a board with an ideal diversity. In the past the debate on board diversity has always been dominated by the lack, or very low numbers, of females on boards. This has been a fact in most countries with sophisticated corporate law and corporate governance systems in place. The issue of female representation on boards still dominates the board diversity debate, but other forms of diversity, including age, cultural, nationality and race have also become part of the debate. The quest is to find answers to questions like whether a diversified board would be better, and whether diversified boards will ensure a better return for investors; in other words, whether there is a ‘business case’ to be made out to have diversity on a board. Many studies have been done, but the answer is still evasive. This is not totally unexpected as the criteria used for these studies differ and the circumstances and complexities of business are such that a final conclusion will probably never be reached. In this article we focus on the board diversity debate in Europe, Australia and South Africa – three completely different parts of the world. In addition we devote Part V to put the topic of board diversity in a broader context, but paying particular attention to gender diversity.

A review of migratory behaviour of sea turtles off southeastern Africa

The survival of sea turtles is threatened by modern fishing methods, exploitation of eggs and habitat destruction. Forming keystone species in the ocean, their extinction would disrupt the marine food chain in ways as yet unknown. The Indian Ocean has many breeding areas for sea turtles, the southernmost ones being on the Maputaland coast of KwaZulu-Natal, where loggerhead and leatherback turtles nest in large numbers thanks to long-lasting protection programmes. For the leatherback this is the only known nesting site in the entire western Indian Ocean. At the end of the reproductive season, both loggerheads and leatherbacks undertake migrations towards disparate feeding areas. To contribute to their conservation, the migratory behaviour of these animals needs to be understood. Here we review 10 years studying this behaviour using transmitters that telemeter data via satellite. It emerges that these species frequent widely dispersed areas ranging from the Atlantic Ocean to the Mozambique Channel. The migratory behaviour of leatherback and loggerhead turtles is, however, very different, probably due to their differing food requirements. While loggerhead postnesting movements have a truly migratory nature, the large-scale wanderings of leatherbacks are better described as prolonged sojourns in extended feeding areas.

Tertiary educators' voices in Australia and South Africa: experiencing and engaging in African music and culture

Music tertiary educators can foster positive experiences that promote diversity, enhance intercultural and cross-cultural understanding through our teaching. Through findings of interview data of tertiary music educators’ understandings of multicultural music practice at two South African universities and at an Australia university, I used interpretative phenomenological analysis to analyse the data. Two major themes emerged: why is it important to teach multicultural music like that of Africa, and what are some of the effective ways of preparing students to best teach it? The data provides insights into an appreciation of and respect for music and cultural diversity. In multicultural societies educators cannot deliver courses based solely on one’s own identity and cultural perspective. I argue that music education may be seen as an agent of social change where music teaching and learning can occur through exploring, experiencing, expressing and engaging in the music of our own culture and that of others.

Creating a space and place for culture bearers within tertiary institutions: Experiencing East African dance songs in South Africa

This paper highlights the intersections between formal and informal African music and dance within a tertiary setting. Reflective practice, journaling and survey data within case study methodology provide a snapshot of the teaching and learning that took place at North West University in South Africa in October 2012. I argue for the inclusion of informal pedagogy of indigenous musics within the formal context of university courses. The experience provided a pathway to connect local community and university to celebrate the rich diversity of African music and culture. The teaching and learning experiences served as onsite professional development for tertiary students, music staff and myself.