Zoliswa THESIS FRONT PAGES corrected by CL

292 Pages·2011·2.59 MB·English

MUSIC BEHIND BARS: EXPLORING THE ROLE OF MUSIC AS A TOOL FOR
REHABILITATION AND EMPOWERMENT OF OFFENDERS AT MTHATHA
MEDIUM CORRECTIONAL CENTRE

Zoliswa Twani

A thesis submitted to the Faculty of Humanities, University of the Witwatersrand,
Johannesburg, in fulfillment of the requirements for the degree of Doctor of Philosophy in
Music.

SUPERVISOR: CHRISTINE ELIZABETH LUCIA

Johannesburg, 2011

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ABSTRACT

My interest in conducting this empirical research exploring music as a tool for rehabilitation and
empowerment of prison offenders was sparked by my observation in 2002 of the problematic use
of music at Mthatha Medium Correctional Centre (MMCC). Music activities were simply a
microcosm of music activities outside prison, and despite the existence of the National Offenders
Choir Competitions (NOCC) since 1997, neither offenders nor Department of Correctional
Services (DCS) Officials seemed to regard participation in such activities as music education, let
alone rehabilitative or empowering. In 2007 I conducted a one-year Participatory Action
Research project of four cycles or stages, in the prison, intended to work towards developing and
improving musical, self-reflexive, and other life skills. I then used Michel Foucault’s notion of
‘panopticism’ (1978) and Paulo Freire’s theory of ‘conscientização’ (1970) to intepret the music
styles, practices, and performances developed during the project and their impact on those
involved.

Two central questions underpinning this study are, ‘To what extent do music activities subvert
the watchfulness of the prison system and environment?’ and ‘How does music encourage
offenders to transcend their prisoner status and reinvent their lives as musicians ‘behind bars’,
better able to reintegrate into society as rehabilitated citizens?’ Through narrative enquiry and
thematic content analysis I examine how the participants’ critical consciousness about music and
about themselves was raised and the way in which the praxis (reflection and action) method had
changed their lives. In the light of the results from this approach and context, I devised a set of
recommendations for a music education curriculum for implementation in South African prisons,
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suggesting that it be implemented using a dialogical life long learning (DLLL) theoretical
approach.

Keywords: prison, ‘panopticon’ or ‘panopticism’, conscientização, reintegration, rehabilitation,
participatory action research, narrative enquiry, thematic content analysis, praxis, and dialogical
life long learning theory.

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DECLARATION

I declare that this thesis is my own unaided work. It is submitted for the degree of Doctor
of Philosophy in Music in the University of the Witwatersrand, Johannesburg. It has not
been submitted before for any other degree or examination in any other university.

Zoliswa Twani
(Name of Candidate)

15th day of August 2011.

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DEDICATION

This research study is dedicated to many people. It is especially dedicated:
1. To the research actors that are the subjects of this study, especially the offenders: Mr
Ngxishe, Mosa and Vuyo Sis Makholi, it was a delight to work with you. To all of you, it
was through your cooperation and willingness to be part of this study that I was able to
explore and understand the extent of music’s contribution to the successes and failures in
our lives.
2. To my husband Zandisile (Sbali) and daughters Mbasakazi and Khanyisa for their
understanding and patience.
3. To my recently deceased mother (Pearl Liwile Fikelepi) who prayerfully and
domestically supported this work.
4. To my three sisters and family: Ursula Nobulali, Tembeka and Noxolo as well as my four
nieces: Babalwa, Bongiwe (Nototosi), Nosipho and Sihle.
5. To the special family friends and prayer partners in my life: Tinny, Nokwanda, Nyameka,
Nontlaza and Nela.
6. To my recently deceased mother-in-law, Eunice Nombewu who emphatically supported
the extension of my surname to include my maiden surname – Fikelepi.
7. Importantly, to God for Rhema Umtata Christian Church’s Prison Ministry, through
whom came the wisdom and the seed to embark on this PhD dissertation.

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ACKNOWLEDGEMENTS

I acknowledge the support and efforts of the following people and organisations without whom
this research study would have been accomplished:

1. My promoter, supervisor and mentor, Professor Christine Lucia, for helping me from the
initial (proposal development) stages of this research, and for her patience,
encouragement, loving, caring and critical but underplayed reprimands and yet valued
assistance throughout my entire study. I appreciate and value your professional
judgement and wisdom in finding experts of international standing to examine my thesis.
Thanks a million for this enhancing of the credibility value of my work.
2. My special former student, colleague and friend, Tembela Vokwana for a life changing
advice to request the services of Prof. Christine Lucia to supervise my doctoral thesis.
3. A very special colleague, mentor and friend, Dr N.N. Mabovula for constant and untiring
support throughout my journey, I will never forget November/ December 2009.
4. Financial support from: The National Research Foundation’s (NRF) Prestige and Equity
Scholarship; University of the Witwatersrand’s SAMP/NRF Project; South African
Music Rights Organisation (SAMRO); Unitra/Walter Sisulu University (WSU) Vice
Chancellor’s and research office under the directorship of Prof. E.A. Akrofi and his
assistant, Mrs. Penny Dawson. Also, to my recent employer – Nelson Mandela
Metropolitan University’s Research Capacity Development office - for funding the final
production of this thesis, and to the Eastern Cape Department of Sport, Recreation, Arts
and Culture for funding certificates of participation and for support with providing
research evaluators.
5. A special acknowledgement to the South African Department of Correctional Services
(DCS) and Mthatha Medium Correctional Centre Management Area for permission,
approval. and guidance for conducting this research study.
6. Priscilla Hall, thank you so much for editing my work and the useful and valuable
comments you made. I am greatly indebted to you for the new knowledge gained.
7. Professor Jean Kidula of Georgia University. I appreciate every minute you spent on
critiquing my work. May God bless you for the seeds you have planted. I love you.
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TABLE OF CONTENTS

Title page
Abstract ii
Declaration iv
Dedication v
Acknowledgements vi

Chapter 1: Orientation and background 1

1.1 Introduction and background of the study 1
1.2 The South African prison system 4
1.3 Current rehabilitation initiatives 6
1.4 History of the NOCC 7
1.5 The arts and rehabilitation in South African prisons 9
1.6 South African choral music outside prisons 10
1.7 South African prisons and music 13
1.8 Prison programmes: An international perspective 15
1.9 Motivation for the research methodology 19
1.10 Theoretical framework 27
1.11 Concluding thoughts 35

Chapter 2: Introductory cycle and activating workshop 36

2.1 Introduction 36
2.2 Preparatory meetings 36
2.3 Cycle 1 43
2.3.1 Cycle 1: Activating workshop Part 1: Expectation 43
2.3.2 Cycle 1: Activating workshop Part 2: Explanation 50
2.3.3 Cycle 1: Activating workshop Part 3: Participation 54
2.4 During Cycle 1 58
2.5 Cycle-end meeting of Cycle 1 66
2.6 Concluding thoughts 72

Chapter 3: Second cycle: Research into topics and evaluation of oral
and practical presentations by offenders 73

3.1 Introduction 73
3.2 Cycle 2: Part 1: Activities of the 11 music circles 75
3.2.1 Learning basic music theory: Masifunde Sonke (Let Us Learn Together) 75
3.2.2 Sifunda Ukusina uHubhe (We are learning to perform) uHubhe:
Thuthukani Mampondo 78
3.2.3 Learning to read tonic solfa notation: Double Quartet 83
3.2.4 Sifundisana Ukusina (We are teaching each other how to perform)
Indlame: Nyandeni Cultural Group 86
3.2.5 Learning Isicathamiya Dance Steps: The Peacemakers 90
3.2.6 Imfene Isinwa Njani? (How is Imfene performed?): Masibuyekeze
(Let us restore) 92
3.2.7 Learning to sing Gospel songs: The Juvenile Gospel Group 93
3.2.8 We are learning to play the recorder: The Recorder Group 96
3.2.9 Basic conducting and singing skills: Mthatha Choir 99
3.2.10 Learning to read and write staff notation: Music Literacy Group 100
3.2.11 Learning two Gospel songs and keyboard skills: Masakhane
Gospel Group 103
3.3 Cycle 2: Part 2: cycle-end meeting 107
3.3.1 First day of cycle-end meeting of Cycle 2: 29 June 2007 108
3.3.2 Second day of cycle-end meeting 114
3.3.3 Evaluation of the music circles and comments by invited participants 117
3.4 Concluding thoughts 120

Chapter 4: Third cycle: Continuing with research topics and
impromptu cycle-end meeting 126

4.1 Introduction 126
4.2 Cycle 3: Part 1 127
4.2.1 Growth and development in Cycle 3 128
4.3 Activities of the music circles 130
4.3.1 Thuthukani Mampondo – UHubhe Music Circle 130
4.3.2 The Choir Music Circle 133
4.3.3 The Conquerors - Double Quartet Music Circle 136
4.3.4 The Peacemakers - Isicathamiya Music Circle 139
4.3.5 The Recorder Music Circle 141
4.3.6 The Juvenile Gospel and the Keyboard Music Circle 143
4.3.7 Nyandeni Cultural Group – Indlame Music Circle 146
4.3.8 Nyandeni YakuMdepha - Indlame Music Circle 146
4.3.9 The Hip-Hop Kwaito Music Circle 149
4.3.10 The Spiritual Dance Music Circle 152
4.3.11 The Visual Art Music Circle 154
4.4 Cycle 3: Part 2: The cycle-end meeting 156
4.4.1 Integration of music and other life skills in the Isicathamiya
music circle: The Peacemakers 158
4.4.2 Acquisition of PAR-related skills and knowledge by the
Hip-Hop Kwaito Music Circle 160
4.4.3 Leadership and management by Indlame yase Nyandeni –
Indlame Music Circle 160
4.4.4 Teaching and learning strategies in the Spiritual Dance Music Circle 162
4.4.5 Practical presentations 162
4.5 Concluding thoughts 163

Chapter 5: Fourth cycle and end of MPAR project 165

5.1 Introduction 165
5.2 Cycle 4: Part 1 168
5.2.1 Nyandeni yakuMdepha - Indlame Music Circle 169
5.2.2 Indlame yase Nyandeni – Indlame Music Circle 175
5.2.3 The Recorder Music Circle 176
5.2.4 The Juvenile Gospel and Keyboard Music Circle 181
5.2.5 Hip-Hop Kwaito Music Circle 184
5.2.6 Spiritual Dance Music Circle 188
5.2.7 The Peacemakers – Isicathamiya Music Circle 191
5.3 Cycle 4 Part 2: Cycle-end meeting 193
5.4 Concluding thoughts: Overview of the evaluation process 199

Chapter 6: Implications from data presentation and data analysis 203

6.1 Introduction: Identification of themes arising out of the project 203
6.2 Hopes and aspirations 205
6.3 Gaps in education 206
6.4 Prior knowledge brought in by participants 209
6.5 Grasp of the PAR method 212
6.6 Programme content 215
6.7 Ways of learning 217
6.8 Interaction and knowledge production 221
6.9 Learning context and production of knowledge 223
6.10 The prison conditions 225
6.11 Life skills and values acquired 229
6.12 Perceptions of rehabilitation 231
6.13 summary of findings: successes and failures 235
6.14 Concluding thoughts 242

Chapter 7: Dialogical life long learning model for rehabilitation and
empowerment of offenders through music education 245

7.1 Introduction 245
7.2 Music education 246