Masakhane: drumming up an effective music curriculum for pre-service teacher education

The introduction of African indigenous music to a generalist primary teacher education course transcended both cultural differences and personal inadequacies of students. It provided a cohesive bond for promoting the learning of music that is aptly represented by the African concept of masakhane (building together). This research demonstrated the effectiveness of Africa music for promoting cross-cultural music education, thereby providing a worthy model for implementation in other teacher education programs. According to findings from a questionnaire survey and interviews, students reported they were able to more effectively engage with, know, create, perform, teach and experience music through African rather than just the Western music. This experience provided students with new musical knowledge, understandings and skills as well as giving them insights into another musical tradition and culture. Students also perceived Indigenous African music as a source of motivation, interest and enjoyment, thereby promoting their creativity and musical learning. As global citizens, we need to embrace diversity and change not only in our immediate teaching contexts but also in broader educational policy. This curriculum clearly enhanced the effectiveness of music within a teacher education course and by extension has the potential to contribute to a greater professional and public good in education.

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'.

Experiencing change: an inside view from the outside

As a South African of Indian descent I bring to education in Victoria an intimate knowledge of 'change in progress' and seek to use that for the benefit of my disciplines as a practitioner and teacher, primarily of music at primary, secondary and tertiary levels. In this article, I discuss some of the gains made by Australian teachers through using African music in their settings, and also describe what some of their teaching and learning needs are. This article arises from two research projects that I undertook: with students at Deakin University (2002-2003) and with music teachers who are currently teaching African music in Melbourne, Australia (2004). The student project investigated the potential for using African music to enhance the generic musical experiences, learning, motivation, interest, confidence and competence of non-specialist primary pre-service teachers. The teacher project explored why teachers are embracing change through the use of African music, what type of African music is taught and how it is being taught. In a world that is in a state of almost constant flux, teachers face the challenge to maintain the relevance of the curriculum and to promote openness to the cultural diversity represented in our contemporary Australian society. Both groups report highly positive changes.

Different rhythms to similar tunes: African beats in action across two continents

In this article I present some theoretical perspectives on reflective practice and African music. As reflection is a voyage of on-going self-discovery and change, and most challenging, I consider the teaching of African music across two continents and institutions. After a recent visit to South Africa (August-October 2006), I describe and discuss some similarities that I as a music educator at Deakin University, share with a music educator from the University of the North West, South Africa regarding the teaching and learning of African music. Through observation and interview data with my colleague, I offer some thoughts on what is African music and why we teach different rhythms to similar tunes across two continents at our tertiary institutions. I see this as a way forward to transmit and promote togetherness in a multicultural society where we respect diversity and the notion of 'other'.

Professional development : the singing ear sees and does

This paper argues that professional development is seen as one element that can lead to the types of change that create more effective schools and improve the learning outcomes of students (Rhodes and Houghton-Hill, 2000). As change is a multifaceted phenomenon that teachers find difficult, it questions and challenges education reform that requires teachers to significantly change their practices and approaches to teaching without significant long-term ongoing support for that change. While there is an emphasis on teachers to be lifelong learners and teaching is viewed as a dynamic and growing profession, many teachers will require ongoing professional development to support such change. This paper examines the relationship between professional growth and professional development and its impact on teacher change. This paper concludes with some views from artists-in-residence and from music teachers regarding onsite professional development and the need for ongoing professional development specifically in African music. The authors contend that an expanded program of professional development in music is likely to be more effective if it is onsite and long-term where broad educational views are considered and participants’ knowledge valued.

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.

Teacher attitudes and perceptions of primary school music education at independent schools in South Africa

As South Africa enters the new millennium and is currently in its second term of democracy, the question remains: is outcomes-based education preliminary the way forward for learners in South Africa. The new education system recognises the importance of arts education and specifically music education at the primary school level. This article focuses on music education at independent schools in Gauteng, South Africa. The reporting of this article is based on the author's doctoral thesis entitled "Outcomes-based music education in the foundation phase at independent schools in Gauteng, South Africa". The principal form of research was a questionnaire sent to music teachers at primary schools registered with the Independent Schools Council (ISC). The purpose of the questionnaires was to contribute to a study on teachers' perceptions, attitudes and opinions regarding music education and outcomes-based education. The questionnaire was divided into three main sections, namely: personal and professional details, outcomes-based education and general information. Both open and closed types of questions were employed. The questionnaire yielded both ambivalent views about the change of the education system as well as the inclusion of music as an area of learning within "Arts and Culture". It also identified current teaching trends and exposed areas of weakness that call for attention.

Music education and minority groups cultural and musical identities in the 'newer' South Africa : white Afrikaners and Indians

Music Education, as well as cultural and musical identities are all being renegotiated, post-Apartheid, within the so-called 'newer' rather than the commonly known 'new' South Africa. The developing situation with certain minority groups is particularly interesting. Education in general has undergone much change since the first democratic elections in 1994: music education specifically has been affected by such change in terms of content, delivery and assessment. Within the South African context, cultural and musical identities are often intertwined with language, racial and even tribal identities, and discussing one implies the others. We are particularly interested here in the role of formal Music Education in relation to white Afrikaners and Indians as they renegotiate their cultural development, including musical aspects

Jabulani Africa: celebrating music making and finding meaning in Australia

This paper begins to explore the notion of a South African identity in Australia through community music making. Solbu (cited in Herbst, Nzewi and Agawu, 2003) highlights the strong link between music and society, arguing that, music creates and confirms identity, and challenges cultural and communal borderlines. This paper situates itself in an Australian society that is becoming increasingly globalised and cosmopolitan. The South African Jabulani choir in Melbourne is just one example that illustrates a context of diversity as one that promotes respect for a multicultural society and one that promotes respect for diversity across the community. This paper focuses on the cultural and musical identity of South Africans as a minority group in Australia and offers some perspectives on South Africans in Australia, music and cultural diffusion, identity, and the notion of making music together by people in a community music setting.

Recognizing and celebrating Xhosa traditional music in South Africa

The recognition and celebration of Indigenous Knowledge Systems (IKS) as a way forward to promote democracy and inclusivity continues to be part of South Africa's nation building process. One effective platform for this to take place is through community music making as music making in Africa is a way of life. Since democracy in 1994 many initiatives were set up to explore and foster traditional music. This paper presents a brief contextualization of IKS, identity and community music making. It reports on the a Xhosa music research project (2004-2006) as an ethnographic study which is descriptive and interpretive as a holistic cultural portrait. Participants in the project included post-graduate music students, community culture bearers and academics. Only some significant aspects of the Xhose music project at the University of Fort Hare will be reported on. We contextualize the recognition and celebration of IKS within the parameters of the music and the culture of the amaMpondo within the Xhosa people. The paper specifically focuses on the ritual life of the amaMpondo. It also describes the indigenous bow instruments of the Uhadi and Umrhubhe as unique examples of South Africa's traditional music. As this initiative proved a worthy undertaking, we challenge whether such a project could strengthen local IKS elsewhere and be a pathway for tertiary institutions to engage effectively with local community music practitioners in order to prepare students effectively as holistic music educators.

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.

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.

Music, Magic, and the Mythic: The Dynamics of Visual and Aural Discourse in Souleymane Cissé’s Yeelen

The 1980s saw a wave of African films that aimed to represent, on both local and international screens, a sophisticated pre-colonial Africa, thus debunking notions of the continent as primitive. Toward this aim the films inscribed the conventions of oral performance within their visual styles, denying spectator identification with the protagonists and emphasising the presence of the narrator. However, some critics argued that these films exoticised Africa, while their use of oral performance’s distancing effect echoed the ‘scientific’ distance structured by the ethnographic film, in which African societies were represented as ‘the other’. Souleymane Cissé’s Yeelen exemplifies this tension, transposing into cinematic form oral storytelling techniques in the depiction of a power struggle within the covert cult of the komo, a Bambara initiation society unfamiliar to most non-Bambara viewers. This paper demonstrates how the film negotiates this tension via music, which interpellates the international spectator by eliciting a greater identification with the protagonists than that determined at a visual level, while encoding a verisimilitude to rituals that may otherwise be read as the superstitious practices of ‘the other’. In this way, music and image in Yeelen operate as parallel, though often overlapping, discourses, bridging the gap between the film’s culturally specific narrative and formal components, and its international spectators.

Teachers reactions to outcomes-based music education in South African primary schools

This article examines the reactions of specialist music teachers to the introduction of Outcomes-Based Education (OBE) in South Africa. OBE has been seen in post-apartheid South Africa as a way to transform education and address the imbalances of the past. The study reported here used questionnaires to explore attitudes of teachers at independent schools in Johannesburg in the first year of implementing OBE. Analysis of data revealed both positive and negative attitudes as well as the strong need for teachers professional development if OBE is to succeed.