Gathering for God : George Brown in Oceania

Combining 'the gathering of artefacts with the gathering of souls', George Brown was a key figure in the Christian, and especially the Wesleyan Methodist, history of nineteenth-century Oceania. Using his life as a case study, Helen Bethea Gardner examines the role of Christian missionaries in the Pacific Islands. Brown's career (1860-1908) spanned one of the most tumultuous political periods in the South Pacific, as one by one islands were colonised by imperial nations. He was one of the most politically engaged of all missionaries, encouraging colonial rule in the Pacific by America, Britain, Germany and, eventually, Australia and New Zealand. Originally from the north of England, he worked as a missionary in Samoa from 1860, moving to the Bismarck Archipelago (now Papua New Guinea) in 1875. From the 1880s until his retirement in 1907, he worked in Sydney as the general secretary of the Australasian Methodist Overseas Mission. Gathering for God examines Brown's missionary letters, journals and journalism, exploring how he attracted Pacific Islanders to Christian teachings, analysing his leadership during an armed attack on New Britain villages accused of cannibalism, and looking at his work in the new discipline of anthropology. He was a major collector of artefacts (his collection is now in the Osaka Museum) and photographer of Pacific peoples (his collection is in the Australian Museum).<br />

Tonic sol-fa in South Africa : a case study of endogenous musical practice

Tonic Sol-fa was introduced to South Africa during the mid nineteenth century initially by Christian missionaries and later by professional educators to schools, teacher training institutions and local communities. Despite Tonic Sol-fa being the principal means of formal pedagogy and the most commonly-accepted notational medium through which South African communities have developed and sustained what is unquestionably a vibrant choral music tradition, there has been some fairly forthright condemnation of the overall effects of European music - particularly tonal-functional harmony - on indigenous culture. Agawu (2003) and Nzewi (1999), for example, have identified what they describe as the adverse effects of European music on African culture. <br /><br />This paper counters these criticisms in one respect. It argues that, as one of the most prominent manifestations of European musical culture in sub-Saharan Africa, Tonic Sol-fa represents what Ntuli (2001) identifies as endogenous knowledge - knowledge acquired from non-indigenous sources that has been assimilated and integrated with indigenous knowledge to become the collective heritage of a people. This contention is supported by four short case studies of indigenous South African composers - two past and two contemporary musicians - who have utilised Tonic Sol-fa in their choral music writing and teaching, albeit in differing ways. The paper aims to counter the general criticism that European music has been injurious to indigenous African culture; rather it argues that in reality this manifestation of European music represents an exemplar of endogenous knowledge.<br />

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. <br /><br />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.<br /><br />

Observing different faiths, learning about ourselves : practice with inter-married Muslims and Christians

The present article offers practitioners initial ideas for work with clients in mixed-faith relationships. Based on local, empirical research that investigated Muslim-Christian marriages, six patterns of adaptation to a mixed-faith marriage are outlined. In addition, from a practice-oriented review of the data, four questions are identified that can be used by practitioners to clarify their thinking and practice focus. Increasingly technical, these reference questions are: (i) how is the public-private divide being understood and managed; (ii) how is identity and selfhood being practiced; (iii) how may practitioners position themselves with respect to asymmetries related to gender; and (iv) should religious differences be reframed? Rather than practitioners seeking to be experts on the other, the belief animating the current contribution is that work with diverse clients offers workers a mirror upon which we practitioners can better observe our own outlines. In contrast with the pursuit of imperial generalisations, the authors of the present study commend the benefits of reflectively denaturalising our own positions.<br />

Researching Moslem-Christian marriages : extrapolating from mixed-faith couples towards the practices of Convivencia

Moslem&ndash;Christian marriage can be seen as a kind of &lsquo;testing place&rsquo; for examining and appreciating the practices of difference. This article offers a summary from a recent local research project which investigated these relationships (Ata, 2003). The empirical data from the study was &lsquo;milled&rsquo; for its potential to inform practice, a process that generated four themes that practitioners may find useful in their attempts to design practice approaches that are sensitive to alternative anthropologies. Beginning from the contention that the otherness of those for whom we work can be a mirror for our own cultural and practice assumptions, we extrapolate from these themes to practise with other examples of diversity. It is argued that our efforts to practise with diverse populations will be unengaging, even colonising, unless we are able to denaturalise our own positions.<br />