ERIC EJ952006: Cultural Diversity in Australia: Promoting the Teaching and Learning of South African Music

2011·0.1 MB·English

by  ERIC

aaustralian
s osc i e t y
f o r mmu s i c
Cultural Diversity in Australia: e du cat ioen
incorporated
promoting the Teaching and Learning
of South African Music
Dawn Joseph
Deakin University
Abstract
Australian society is increasingly multicultural, and this article provides some theoretical perspectives on
multiculturalism, cultural diversity and the teaching and learning of African music. It identifies the need for teachers,
practitioners and artists to jointly work together to create a community of practitioners where pedagogy meets
practice. Through reflection and interview data of an artist in schools, a primary music specialist and a tertiary music
educator, the ‘how’ and ‘why’ about teaching South African music and culture is discussed through pedagogy. Whilst
this article discusses a particular culture and music, it has implications for education within a wider sphere and calls
for further investigation when using different music from diverse cultures.
Key words: African Music, Artist in Schools, Multiculturalism, cultural diversity, South African Music
Australian Journal of Music Education 2011:1, 42-56
Setting the scene: the Australian backgrounds would threaten the security
context and unity of the new nation. They believed
that Australia should be a nation of people
Although this article focuses on the insights
of British descent and that an increase of the
of three South African voices on the teaching
population was necessary for Australia’s survival”.
of African Music in Melbourne (Australia) it
Initially, more British immigration was allowed,
is necessary to provide a brief outline of the
nonetheless Northern Europe and to a lesser
Australian context as all three voices per se are
degree Southern Europeans were tolerated.
originally immigrants from South Africa arriving
Willoughby (2011) confirms “few Europeans
as early as the late 1980s to 2000 into Australia.
sought to migrate to Australia before World War
As early as the 1850s, the ‘White Australia’
One, but after the war, Southern Europeans as
policy can be traced favouring applicants from
well as non-European migrants, were excluded
certain countries. “‘The White Australia’ policy
from migrating to Australia”. It took 25 years for
described Australia’s approach to immigration
the abolition of this policy in 1973 by the then
from federation until the latter part of the 20th
‘new Labor Government’. The Whitlam federal
century” (Australian Government Department
Labor Government “shifted from one aimed at
of Immigration and Citizenship, 2011, p. 1).
integration of other cultures into the dominant
According to Willoughby (2011, p. 1) “at the
Anglo-Celtic culture to one which supported
time of Federation, most Australians feared that
multiculturalism” (Jakubowicz, 2011, p. 1). At
the introduction of people from non-European
42 2011, No. 1
Teaching and Learning South African music in Australia
the state level in Victoria in 1982, the Cain reports that there are immigrants from more
Labor government implemented multicultural than 230 countries, speaking more than 200
policies in the workplace, in education and in the languages and dialects, and following more than
community. To this day Australia prides itself on 120 religious faiths. Victoria is said to be the most
its great strengths of inclusivity and rich cultural multicultural state in Australia with a history that
diversity. The Commonwealth of Australia (2003b) was “forged on successive waves of migration”
maintains that “Australians have the right to be (Victorian Multicultural Commission, 2009). The
active and equal participants...free to live their Australian Bureau of Statistics (Migrants changing
lives and maintain their cultural traditions”. They our population mix: ABS 2006) projects there to
further acknowledge the unique contribution be 20,702,959 residents in Australia. According
of the Australia’s Indigenous people and their to the latest census taken in 2006 (Australian
culture making it a rich multicultural nation Government Department of Immigration and
today. Citizenship, 2010), there are 104,130 South African
Australia continues to be a tapestry of diverse born people in Australia, thus making them one
cultures and this embroidery of cultures weaves of the fastest-growing groups immigrating to
“shared knowledge and belief systems” (Mushi, Australia, 8 per cent a year on average (Migrants
2004, p. 181) not necessarily changing meaning changing our population mix: ABS, 2006). As one
from any particular culture, but rather finding of the fastest-growing groups in Australia, this
an educational mixture where opportunities article focuses on the teaching and learning of
for interchange can co-exist. As Australian South African music in Melbourne at educational
society becomes increasingly multicultural, the settings as one example where interchange can
demographics of classrooms changes and the coexist in music practice. Here I also offer some
pluralistic multiculturalism that now exists can theoretical understandings of multiculturalism
contribute in its own unique way to the social and cultural diversity to explain the teaching and
enrichment of this country. As such, teachers learning of African music.
need to adapt as well as adopt “a more critical
multicultural approach to their practice to meet Understandings of
the challenges posed both by societal diversity Multiculturalism and cultural
and the system in which they work” (Hagan &
diversity
McGlynn, 2004, p. 245). The Commonwealth of
Australia (2003a) document advocates “Australian The notion of multiculturalism and diversity is
multiculturalism encourages Australians to often used interchangeably and “fast becoming
support each other” and “encourages diversity the norm” (Lee & Dallman, 2008, p. 36). Although
in ways of thinking” (pp. 7-8) which also extends Banks (1991) rightly points out “it is neither
to education at all levels. The Australian possible nor necessary for the curriculum to
multiculturalism policy asserts that, “all Australians include content about every ethnic group”
have the opportunity to be active and equal (p. 4), “each curriculum should focus on a
participants in Australian society, free to live range of ethnic groups” (p. 14). Writing more
their lives and maintain their cultural traditions specifically about music education, the concept
Australian multiculturalism recognises, accepts, of multiculturalism can be taught through an
respects and celebrates cultural diversity” integrated curriculum where cultural and ethnic
(Commonwealth of Australia, 2003a, p. 6). diversity is explored in music teaching, this
Writing specifically about Melbourne (Victoria), “may include, or be based upon multiethnic
the Victorian Multicultural Commission (2009), content in the curriculum” (Klinger,1994, p.
Australian Journal of Music Education 43
Joseph
94). Banks (2004) writing specifically about make cross-cultural connections moving from
multicultural curriculum contends that students monocultural (predominantly western Classical
“view concepts, issues, events and themes music) to transcultural (“an in-depth exchange of
from the perspective of various ethnic and approached and ideas in which many musics and
cultural groups” (p. 15). Thus he argues, as musical approaches are featured on equal footing”
educators our role then is to “help students to Schippers, 2010, p. 31) music programs. It would
better understand their cultural knowledge to seem fitting then to embrace a diverse music
learn the consequences of embracing it and to curriculum that is inclusive of many musics and
understand how it relates to the knowledge they cultures than just a western approach in education
need to survive and to participate effectively in that is predominantly monocultural. Marsh (2008)
the global community” (Banks, 2004, p. 13). He points out that school population are changing
cautions us that a curriculum that only includes and becoming more ethnically diverse. She points
knowledge of mainstream groups and cultures out that children at school level acquire songs and
further marginalizes minority groups and their games progressively as they mature. In her work
cultures. Although we should value differences at tertiary level she promotes the idea of field
and the diverse cultures around us, “there is no trips as these encourage her “pre-service students
real school of thought on how to live together to take a more active and personal approach
in a multicultural society” (UNESCO, 2001, p. 12). to understanding and teaching the music of an
Given that culture is embryonic and dynamic, as unfamiliar culture represented within a pluralist
educators, we have a responsibility to provide Australian society” (Marsh, 2007, p. 48). Schippers
students with learning experiences that value (2010), Marsh (2007), Campbell (2004) are among
the role of their culture in all learning areas. those who support an inclusive curriculum if not
Therefore it is important as Woodward (2008) “we do our students a disservice when we prepare
points out to provide “children with connections them to live in a society that no longer exists”
to their cultural heritage and instill[ing] in them (Nieto, 1992, p. 281).
an appreciation for one another’s cultures and As there is a large mixture of cultures in Australia,
respect for diversity” (p. 33). Mixon (2009) makes it is imperative to value and respect “the ways in
the point that as “culture is not restricted to which people experience, interpret, and respond
ethnicity” (p. 66), students have understanding to the world around them” (Marshall, 2002, p. 9). As
of their “own culture and a general knowledge music educators it is important to be active agents
of the musics of other cultures” (Volk, 2004, p. of change where we consciously shift our Western
190). By engaging our students with different and music paradigms of teaching to embrace other
many types of music Jorgensen (2010) affirms we musics and their cultures (Addo, 2000; Campbell,
can have a better understanding of our culture 2004). As music is a potent vehicle that promotes
and self. personal growth and social skills it develops an
Although the notion of ‘other’ and culture are understanding of one’s own cultural identity and
fluid concepts creating a “common heritage of experience, realizing that one can possess a hybrid
humanity” (UNESCO, 2002) individuals do not identity (Van Heerden, 2008). In this light one is
necessarily fit into discrete cultural groupings. able to explore the notion of otherness through
The hybridity of cultures as viewed by Bhabha new and different musics. When teaching African
(1994) is complex, linked to language and social (South African) music it is “both performance and
practices “without an assumed or imposed story, [it] describes the social in the individual and
hierarchy” (p. 4). By providing inclusive programs the individual in the social” (Frith, 2002, p. 109).
in schools that address multicultural music we As South Africa is well known for its rich choral
44 2011, No. 1
Teaching and Learning South African music in Australia
tradition, when sharing its songs, one enters “into (2008) supports this notion of different ways
a relationship with another” as Lortat-Jacob (2006) to teach but reminds us that music is primarily
points out, you move beyond that of “producing sound and its teaching and learning is either
notes and melodies” (p. 91) rather you learn of by rote, note or a combination thereof. Exactly
people’s lives and their history forming what he how music is taught is dependent on both
calls a “narrative” (p. 95). social context and the individual teacher as
When learning takes place in such a way it is teaching and learning is a negotiation between
transformative and “inclusive. Because it is about participants. Trend (1992) writing from a
all people, it is also for all people, regardless of perspective of cultural pedagogy reminds us
their ethnicity, language, sexual orientation, that “learning is not dependent on transmission
religion, gender, race, class or other difference” models of master/servant dialectics, but rather
(Nieto, 2002, p. 38). Learning then becomes a an active process generated between sender
shared approach that has the potential to foster and receiver” (p. 150). Blacking (1967/1995),
understanding amongst diverse cultures. Such Nettl (1983) and Campbell (2001b) draw our
an approach aligns itself to the notion of cultural attention to the transmission of music in which
learning where learners can extend their cultural we not only learn notation and songs but we
experience and understanding. Writing specifically also acquire knowledge of the music and its
about the notion of cultural learning, the Culture cultural practice. Trend (1992) acknowledges
and Learning Consortium (2008) in the United that “students construct knowledge from the
Kingdom’s report from a public consultation are materials presented to them” (p. 150) this is also
concerned with different ways sharing cultural true for teachers. Hence it is necessary to uphold
experiences that could “deepen understanding” the integrity of the music when made out of its
of learners “in ways that interest and motivate” original setting. Kwami (2001) is of the strong
them (p.26). Through such an exchange a sense belief that teacher and participants should be
of belonging can be instilled in learners through “confident and knowledgeable about the music
cultural programs. The Culture and Learning concerned” (p. 151). Both Kwami (2001) and
Consortium (2008) are among those who Nzewi (2006) identify that while we may be good
recognise the need for teachers, practitioners replicators when transmitting ‘another music’
and culture bearers or artist to jointly work they also alert us to the need for authenticity
together to create a community of practitioners and warn against superficiality or artificiality
where pedagogy meets practice. In this way a when teaching it. This article does not elaborate
shared approach to teaching and learning can be on those aspects rather it positions itself within
achieved by identifying and disseminating good the context of authenticity where South African
practice. music and culture is shared in Melbourne
(Australia). I have argued elsewhere that music
Teaching and Learning can be used as a vehicle for understanding
cultural difference in a pluralistic society like
The notion of pedagogy is “best understood that of Australia (Joseph, 2009b). When teaching
as referring to the structured relationship about African music in this article, I specifically
between teaching and learning, as forms of refer to Black African music from South Africa.
social-discursive practice” (Green, 1998, p. 179). South Africa has 11 official languages since
Hildegard and Anundsen (2006) point out democracy and each of the ethnic groups has its
that “every musical practice and music culture own music and culture. The insights of the three
contains a way to teach music” (p. 62). Campbell voices in this article specifically refer to the music
Australian Journal of Music Education 45
Joseph
and culture of the Zulu, Sotho, Xhosa, Tswana and requires ‘no visa’ it will continue to travel and be
Pedi tribes in South Africa. shared in different context where pedagogical
Biernoff and Blom (2002) rightly point out practice considers teacher, learner and knowledge.
“musicians from other parts of the world come Hence by embracing a ‘new’ and ‘different’ music
to Australia to live for many different reasons, perhaps like that of African (South African) learners
bringing with them their musical knowledge and can recognise different music and culture as not
skills as performers and teachers, their approaches “remote encounters but as appropriate, integral
to education and their cultural heritage” (p. 23). aspects of their lives” (Rose & Kincheloe, 2003, p.
As such they also recognise that music making 134) in multicultural Australia.
and sharing can change when it travels to new
teaching ‘spaces’ as it is learnt formally, informally How do we learn by rote or note?
or through enculturation (Campbell, 2008), such
levels closely aligned to Hall’s (1992) notion of Indigenous African methodology of learning
learned cultures taking place in formal, informal or is through practical music experiences and
technical learning. In African societies, it is through creativity. As Kwami (2001) points out “there is no
songs and dances that children and young people written form of notation in black African music,
receive instruction about traditional customs and the music literacy that operates in black African
practices, obligations and responsibilities. Through communities is transmitted and propagates
songs they learn about members of their families through aural-oral means” (p. 144). Nzewi (2005)
and the important people, places and events of asserts musical arts activities are learnt when
their community, their tribe and their country you join in public or private performances. Here,
(Warren, 1970; Agawu, 2003). he firmly believes, is where you actually learn,
This article through reflection and interview through the traditional way of learning which
data provides insights into how and why South “relied on memory or oral and practical methods
African music is taught through the eyes of an for reproducing what was learnt, and for passing
academic (myself), an artist in schools, composer it on to others with or without the necessary
and performer (culture bearer) and a primary change that culture permits” (Nzewi, 2005, p.
music specialist. Although the three of us are 9). A prime example when teaching drumming
South African now living and working in Australia is the use of mnemonics as a useful medium
sharing a common national heritage we have when either demonstrating or teaching through
different cultural and ethnic backgrounds. The imitation. The mnemonics are used to specify
discussion argues for an open -mindedness in our whole hand or part of it or whether the sound
various educational settings through performative should be played bounced, muted or slapped
variations of commonalities where student’s they also indicate which part of the vellum or on
experiences are different and diverse from our the wood to play (Kwami, 1998). Campbell (2008)
own. It is necessary from the outset to recognise recognises that we teach music to learners in
that “music knows no boundaries” and “songs various contexts where “modelling it, conveying
from different countries, sung in their original [it] orally and by demonstration [it is] then
tongues have opened gates to the understanding received aurally by learners” (p.40). Nzewi (2005)
of culture” (Pohjola, 1993, p. 112) and it “changes contends that given our various educational
as it is traded and shared” (Campbell, 2001a, p. 61). settings we now combine “the traditional African
Wade (2004) makes us aware that as music travels method of oral and practical learning with new
it can be decontextualised and “cut off from its methods for preserving what we know or finding
original makers [and] meanings” (p. 16). As music out what we do not know” (p. 9). He further
46 2011, No. 1
Teaching and Learning South African music in Australia
claims these methods “enables persons whom training”. By documenting my reflection on
we have not met or seen to understand what my teaching and students learning I continue
we know and do in our culture” (p. 9). Schippers to keep a journal. This enables me to express
(1996) found in his work that “most music travels my “personal practical knowledge to [myself]
remarkable well… [and] is a language that themselves and to others” (Craig, 2009, p. 602).
transcends all boundaries” (p. 17). He further It is through such processes I am able to “create
reminds us that one has to be cautious about meaning around practice” and the outcome from
“passing down [such] musical knowledge” (p.18) such understanding “provides a starting point for
in western settings as the process of teaching adapting practice” my practice (Young, 2006, p. 1).
may “change the music itself” (p. 19). Nonetheless, Like Abramo (2008), I also seek to create a space
it is necessary to understand the cultural context for possibility in my classroom here I position my
behind every song or movement that is taught narrative as interpretative as I treat it as “a lived
whether learnt through rote or note. To this experience” (Chase, 2005, p. 658).
Volk (2004) rightly expresses “the greater the I started to teach at Deakin University since
knowledge one has about the culture, and the 2001 where I introduced African music and have
expectations or rules of its music, the greater the been documenting my teaching experiences in
understanding or perception of meaning, of that a journal. Since 2002, I have had ethical approval
music will be” (p. 6). Music is then seen as through from my university for various projects to conduct
a process of “enculturation” and “socialization” questionnaires, online surveys and interviews
(Jorgensen, 2006, p. 35). This is very pertinent with my students as well as with music teachers
when teaching about music from a different and artist in schools in Melbourne regarding
culture as the music can only have meaning when the teaching and learning of African Music. The
it is related to its socio-cultural practice (Walker, interview data for this article was part of a study
2005). called Smaller steps into longer journeys which
started in 2005. Music teachers and African artist
Methodology in schools teaching specifically African music
were invited to participate in the project. From
The methodology for this article includes my the interviewees that volunteered to participate
reflection in a personal narrative mode of in the project, one music teacher and one artist
enquiry along with interview data from an artist identified themselves as African (South African)
in schools, composer and performer (Mr Artist) hence their interview data was selected for
and a primary music specialist (Mrs Specialist). discussion for this article.
Buckley (2000) points out “reflection cannot According to Wellington (2000), Van Vuuren and
occur without conversation” (p. 143). Reflection Maree (2002) and Holstein and Gubrium (2003)
is the essential part of our learning process using personal interviews like that of the music
because it results in making sense of or extracting teacher and artist allows one to gain rich empirical
meaning from our experience (Osterman, 1990). data about the situation being investigated.
Reflection in and on one’s practice is not new to Through transcription analysis common themes
educational practice, “it has been embraced as emerged from the interview data of music
a common goal of teacher education programs teacher, the artist in schools and me (Abramo,
at universities” (Greiman & Covington, 2007). 2008). Interviews as a qualitative method was a
According to Atherton (2003) “the cultivation means of gaining descriptive rich information
of the capacity to reflect in action (while doing that focused directly on the topic of inquiry (Yin,
something) and on action (after you have done it) 2003) where both structured to semi-structured
has become an important feature of professional
Australian Journal of Music Education 47
Joseph
questions were asked in a conversational doing” (Kwami, 2001, p. 146). We are also aware
manner (Gilham, 2000). Having gained ethical that the music we teach is part of our South
clearance through my university, the interviews African heritage hence cultural connections
were personally undertaken and taped with the are made when the music is taught. Belz (2006)
permission of the interviewee and professionally commendably maintains as “cultures are dynamic
transcribed this enabled a ‘conversation style’ of and evolving” all three of us use contemporary
interviewing (Aberbach & Rockman, 2002, p. 675). as well as traditional African music (songs) in
All transcriptions were made available for the our teaching. The teaching of African music
interviewees. Questions in the interview focussed provides our students an insider’s view when
specifically on the teaching and learning of African teaching about music from a particular culture. At
music, expectations, reactions, recommendations tertiary level when teaching music from another
and suggestions. When analysing the data country to my pre-service students, I make them
transcripts, I looked for descriptions and patterns aware to be culturally sensitive when teaching
and not for statistical data (Carney, Joiner & about another culture and society. They also
Tragou, 1997). I codified and classified the data learn about the value of including and inviting
(Miles & Huberman, 1984) into broad themes: artist to schools as culture bearers as they have
African music teaching and learning, South African in-depth understandings, knowledge and skills.
culture and identity and the place and role of In more recent years it is becoming fashionable
multicultural music in Australian schools. The and a positive step in Melbourne for schools to
data revealed common descriptions of what the employ culture bearers to be part of the school
two interviewees experienced as South Africans, music program depending on the funds available
teaching in Melbourne. This aspect of my coding to have such programs at schools. Mr. Artist in
is similar to what Aberbach and Rockman (2002, School (culture bearer) is one such example of
p. 675) refer to as ‘manifest coding’ when there a person who goes to schools teaching about
are direct answers to questions and ‘latent coding’ South African and African music not only in
where answers are not always explicit. This section Victoria but in wider Australia. As we have not
below only reports on how and why African music taken our students to Africa to immerse them
is taught by three South Africans of different racial in the teaching and learning of that culture, we
backgrounds. through our own stories and teaching present
our local students with what Titon (1997) and
Discussion: how and why do we Marshall (2000) calls a lived experience of people
making music and sharing their culture. Although
teach?
the discussion of our teaching takes place in
In our educational settings, we all three (tertiary formal educational settings, I do acknowledge
music educator, Artist is Schools who is also a that music in Africa is a shared communal
composer and performer and Primary Music experience where singing and dancing is as
Specialist) communicate music in a practical natural “as eating and drinking” (Walker, 2005,
way. We include the oral/aural, kinaesthetic, p. 6) and often takes place in both formal and
improvisation, storytelling, solmisation, informal settings. Recent research undertaken by
vocalization, teacher demonstration, imitation, Primos (2001) and O’Flynn (2005) suggest that
visuals (notation and artefacts), verbal and the idea of learning about another culture and
non verbal emphasis as part of our pedagogy. music formally in schools or university’s is an alien
As we all are practitioners in our own right concept in African societies.
we “demonstrate [our] knowledge through
48 2011, No. 1
Teaching and Learning South African music in Australia
Tertiary music Educator: my excluded from classroom conversations” (Villegas
reflection & Lucas, 2002, p. 28). Such discussions I hold when
speaking of the role music had in South Africa’s
My teaching of African music at Deakin University
democracy and playing music from the apartheid
aligns itself to notions of experiential education
era like protest songs. It is hoped that my students
as “the process of practical engagement with
gain a better understanding of the role music
concepts and skills applied in the practical
played during the apartheid era. The singing of
setting, through physical and practical mental
‘protest’ and ‘freedom’ songs played a significant
activity” (Drengson, 1995, p. 92). I have argued
part in the change process. Singing songs in the
elsewhere (Joseph & Southcott, 2005) that the
Black African languages brought about nation
process of the learning theory in relation to my
building without the shedding of blood and
teaching resonates with Kolb and Kolb’s (2005)
continues to cement the nation. The change from
proposition that “experiential learning is best
the old national anthem to the current anthem
conceived as a process, a constructivist theory of
reflects the inclusion of both ‘black and white’
knowledge where social knowledge is created
groups in South Africa. Here students gain cultural
and recreated in the personal knowledge of the
and social understandings of the songs, rhythms
learner” (p. 194). My reflection and findings on
and movement. Improvisation and playing with
teaching African music is outlined in previous
each other rather than for each other is another
articles (Joseph, 2003, 2004, 2006 & 2009a) where
teaching principle I use. Students are less inhibited
I articulate African music as a way forward to
when they play on djembe drums, cow bells and
understanding and appreciating ‘another music’
marimbas then when they sing and move at the
where west is not only perceived as best practice.
same time. Listening and watching (eye and ear)
Although I am of so called ‘Indian descent’, I am
are ‘key’ factors to the teaching and learning of
born in South Africa; hence I use African songs
African music in my practice. Through the teaching
from the Zulu, Xhosa, Pedi, Tswana and Sotho
of African music I prepare my teacher education
tribes in my teaching. My method of teaching to a
students to be culturally responsive as Abril (2009)
large extent is through imitation or rote learning
points out “educators have the potential to make
coupled with that of call and response. My tertiary
their programmes more relevant to the lives of
students find it challenging to pronounce the
their students (p. 89) considering my pre-service
words and sing the songs in the African language
teacher education students will teach in a diverse
however when phonetically broken down through
multicultural Australia.
listening to me and with the aid of the score,
students are able to overcome their perception
Artist is Schools, Composer and
of ‘I am not an African and can’t sing and move
like them’. Students commented “it is a different Performer
and new experience”, “I enjoy the singing and In 2005, I interviewed Mr Artist as part of my
moving”, and “I love the drumming it’s the best research project called Smaller steps into longer
part of the class!”. My teaching is also coupled with journeys. Mr Artist is a composer and performer
storytelling which contextualises ‘why and how’ of African music and also conducts professional
the songs would be performed in their natural development as an artist in schools. According
setting. to Erwin, Edwards, Kerchner and Knight (2003),
As tertiary music educator I also promote “a guest artist provides an “insider’s view” of
“candid discussions about topics that, although a culture that no other form of world music
relevant to the lives of the students, are regularly instruction can. It is important for children to
Australian Journal of Music Education 49
Joseph
know a culture’s people and to know about student or maybe the teacher with something to
their music first hand” (p. 135). In his experience take away with them. Something they have learnt.
of working with schools in Australia, Mr Artist And I feel the simpler the better”. He noted that
remarked that African music is becoming “children learn best when working from a simple
more popular at schools. In his opinion “more pattern then move to something more complex”.
teachers’ are wanting to learn about it yet some It would seem in his experiences that using a
say to me oh no I don’t know anything. I don’t practical ‘hands on’ approach is a way forward
feel comfortable doing it”. Hence “having the to learn about another music like that of African
chance to meet with and talk to a guest artist perhaps. Teachers he remarked valued his skills
can help dispel stereotypes and provide correct and knowledge and the way he taught through
information quickly” (Erwin; Edwards, Kerchner demonstration and performance. As a culture
& Knight, 2003, p. 135). As a practitioner of bearer he was not able to ascertain whether
South African music he says “I impart knowledge perceptions of children changed about learning
of Africa and I also think it breaks down something like African music he could affirm that
racial barriers...kids may have stereotypical “it was new and different and they enjoyed it”. I
understandings from someone else”. have argued elsewhere that the artist in schools
Mr Artist teaches through performance as well can serve as professional development (long or
as storytelling. He says “through looking, they short term) for the teacher which can lead to
learn and by listening”. In his opinion “the children the types of change that creates more effective
can know about other people and their songs multicultural programs and learning outcomes for
when they hear about it and sing about it”. As students in multicultural Australia (Joseph & Keast,
a so called ‘black South African’, he presents an 2005).
insider’s perspective to teaching African music. He
is what I would call natural at “guttural and forced Primary Music Specialist
sounds, scooping, and ululation” (Kwami, 2001,
p. 150). Like Mrs Specialist and I, he also found it Mrs Specialist is a primary music specialist; she
“is very hard for the children to pronounce the is classically trained and had taught class music
words in the song especially in Xhosa as it involves for 18 years in Melbourne Australia at the time of
a click sound. He also includes call and response, the interview. My interview with her took place in
imitation and rote teaching in his pedagogy. When 2006, which was part of my project Smaller steps
schools include ‘artist in school’ programs be it in longer journeys. Although Mrs Specialist is a ‘so
long or short term the “pedagogy can represent called white South African’ she has, like me, been
both a discourse of critique and a project of enculturated into black South African music and
possibility” (Trend, 1992, p. ix). As part of his culture as we were both born there and lived
pedagogy Mr Artist stresses the need for cultural there for several decades. She says “it’s something
context “I tell them the history and meaning of in my blood...it’s something I have always listened
the songs and the fact that music is part of an to...it’s a part of me”. We both had formal, informal
oral tradition”. When teaching a song, movement, and enculturated learning experiences of African
drums or improvisation he starts from the simple music. When Mrs Specialist teaches, she includes
then builds to the complex because “you need to songs from South Africa for “they are always
crawl before you walk and walk before you know ready to do something African” as part of her
how to run... I use that as a method”. In his opinion multicultural repertoire, my students “just love
when teaching about South African music and it”. In her opinion the students find the songs to
culture “good teaching is where you leave the be “fun”, “they include movement” and “it they
50 2011, No. 1
Teaching and Learning South African music in Australia
learn about the people through song”. I always Final remarks, recommendations
explain the words of the songs for example the and implications
background of the song Mandela” during the
In conclusion, the two interview data findings
time of apartheid, “they know I am from there
from the study Smaller steps into longer journeys
when I explain things to them they just listen”.
recognises that music requires no visa – it will
By having cultural understanding students are
continue to travel and be shared in different
exposed to cross-cultural possibilities where they
contexts where pedagogical practice considers
can learn new elements and have an appreciation
teacher, learner and knowledge. For successful
of that society and its music in relation to their
teaching of music from another culture
own music background (Nketia, 1988; Miller,
McCullough-Brabson (1995) suggests use of the
1989; Oehrle, 1991).
original language and providing the translation
Mrs Specialist uses rote teaching as a method “I
where possible. Abril (2006) maintains the need
would just sing it...and because they are so quick,
to consult with others for contextual information
it is not a hard job to take them on board”. She also
about the music and culture. He also points
gives them the score of the piece and says “it’s is
out that it is not always possible to obtain
good for them to see it in front of them”. The use
purely authentic music works for inclusion in
of call and response is another way she teaches
the curriculum nonetheless one can construct
the songs. She said “if it is a little bit inaccurate
“music lessons that provide students with in-
I use solfa and Kodály time names as part of my
depth and meaningful experiences of music
method”. Mrs Specialist also teaches her students
as a social practice” (Abril, 2006, p. 40). Using
through listening using CDs of African music.
authentic materials or instruments and knowing
She includes playing stone games as one way to
the cultural context and meaning of the song are
learn of the culture. She comments her students
also important. As not all schools have access to
found that fun and would request “can’t we play
culture bearers or authentic instruments, teachers
that again”. She hopes that by teaching about the
very often use the internet, YouTube or pictures
country she comes from her students will gain
from books, CD’s when teaching about music and
a better understanding of people from South
culture from another country. In Melbourne there
Africa as there are other South African children at
are many professional music organisations that
the school and they will “value and respect other
offer professional development courses which
cultures”. Her school students like my university
have assisted many teachers over the years to
students found it hard to move and sing at the
teach about another music and culture like that
same time though they enjoy it. “Movement is the
of African. Some of these courses are ongoing
hardest thing” she remarked. She further adds “it is
where teachers upgrade their knowledge and
absolutely amazing they go into their little sort of
skills and gain more confidence to teach about
shell and then I have to demonstrate it and make
music and its transmission. Belz (2006) in his
a fool of myself which is fine because that is what
article Opening the doors to diverse traditions
I don’t mind doing in order to get them coerced
of music making: multicultural music education
into moving...it does not come naturally to them...
at the university level is of the belief “a cultural
some have a flair though!”. In Africa movement is
insider should attest to the authenticity of the
inseparable from music and everyday life (Bebey,
experience and any accompanying recordings”
1975; Agawu, 2003) and it is part of the culture for
(p. 45). By providing “hands on opportunities to
people to sing and move and not feel inhibited in
sing, play instruments, dance, move, read, listen,
black African communities.
and watch” Erwin, Edwards, Kerchner and Knight
Australian Journal of Music Education 51