The influence that the use of a familiar language has on learning has long been explored with suggestions that a child’s mother tongue is the most suited initial language of instruction in school. In Zambia, however, this is not the case as the majority of people think that young children should learn to speak in English as soon as possible because this is the language of education. As a result, songs in English dominate the singing repertoire in pre-schools even when children have not mastered sufficient English vocabulary. Singing songs in English, just as teaching children in a language they do not understand, has been shown to hamper learning. The theoretical lens of indigenous African education underpins the study in order to investigate how music in the mother tongue in a cultural context can foster educational aims. Research participants included an expert in Zambian indigenous children’s songs who also acted as resource person and led 18 children aged between 5 and 6 years in sessions of music in their mother tongue. The findings of the study revealed that educational implications of children’s participation in music in the mother tongue can be found in the way in which they are organised, the activities they involve and in the music elements that characterise them.
This case study explored the perceptions of choristers singing in a multicultural university choir in South Africa and the personal value they associate with their choir participation. Data were collected through semi-structured individual interviews, focus groups, and a four-month period of observations of choir rehearsals and performances. This research highlights the multidimensional experiences of choral singing which can be fulfilling, abundant, as well as demanding at times. Emergent themes include music as a key indicator leading to personal-, resilience-, and social values. Findings indicate the significance of collective music making and the ways in which it influences the lives of participants, such as enjoyment, health benefits, achievement, commitment, accountability, a sense of belonging, and camaraderie. Choristers experience the choir environment as safe and conducive to forming important relationships. Although cultural integration takes place to a large extent, there are still barriers due to a variety of languages within a diverse group of choristers. Participants' reflections reveal that choir participation is an ideal vehicle whereby social cohesion can be enhanced. Finally, the study highlights the importance of choral conductors and educators employing strategies that allow choirs within a multicultural environment to successfully transform in order to remain relevant to the needs of the singers within a diverse setting.
In light of the tendency to present the arts in an integrated fashion in many education systems worldwide, this article examines the consequences of integration for discrete art forms. In particular, we investigate the advantages of adopting a syntegrated approach to the facilitation of arts in teacher preparation. A specific comparison between the implementation of arts curricula in South Africa and Australia is made. The disjuncture between policy and practice in arts education that has been reported internationally needs constant monitoring. We conclude that the heart of curriculum transfer and transformation lies in the classroom.
Jangwa music is indigenous to the Manyika people of Zimbabwe. African societies carefully craft song texts for different contexts to serve a functional and educational purpose, and an investigation was undertaken to explore the ways in which this is embodied through jangwa wedding music. The aim of this article is to discuss the cultural meanings and functions conveyed through song lyrics amongst the Manyika people of Zimbabwe. Since the young generation no longer values traditional music being performed at weddings, 150 elderly Manyika people acted as key informants, performing jangwa songs of which they had extensive knowledge and experience.Data collection strategies included participant observation, in-depth interviews and focus-group discussions. Most jangwa wedding songs have a positive outlook and encouragement for the newly-weds, while other songs are more critical and warn of the possible pitfalls in marriage. Findings revealed that the majority of jangwa wedding songs focus on the role of brides and married women as a whole, signifying the pivotal role they play within the Manyika society. Active participation in indigenous African musical arts is diminishing, therefore a concerted effort is needed to ensure that jangwa wedding music is revived and documented for future generations.
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