For older people, participating in leisure activities enhances their sense of social, emotional, mental, spiritual and psychological wellbeing. This article reports on a case study that situated itself across two southern hemisphere countries -Australia and South Africa -and with two ensembles, namely: an instrumental ensemble in Melbourne (all musical readers); and a vocal ensemble in Clarens (all non-readers of music). The authors drew on Seligman's elements of positive emotion, engagement, relationships and meaning, and accomplishment (PERMA) to explore the ensemble members' engagement as "serious leisure and the wider community".Using qualitative case study methodology, they employed interpretative phenomenological analysis (IPA) as an organising tool to analyse and code their questionnaires and interview data. The findings are presented under three overarching themes, namely: meeting for serious leisure; music learning; and connecting with the wider community. While music engagement for older adults is an achievement in itself, sharing it with the wider community is considered most significant for the participants. Discussing two ensembles is a limitation in itself, therefore generalisations to other ensembles cannot be made. The case study data was written in 2020 during the COVID-19 lockdown period in both countries. Further research is planned across both countries to explore any implications the lockdown has had on the two groups once they are permitted to recommence rehearsals.
This article focuses on teaching and learning contexts as well as assessment systems suited to African musical arts performance, but its findings are equally applicable beyond these contexts. Through the introduction of a generic evaluation system in the form of a re-contextualised authentic framework that is implementable outside its culture of origin, this study opens up the possibility for the development of other, similar generic global frameworks. What is illustrated here is a newly developed compatible and reliable framework that correlates an indigenous sub-Saharan African non-formal music education system with a global and formal music education. This framework is informed by Western and indigenous African philosophies, a synthesis of social and educational studies, as well as an exploration of the musical arts in sub-Saharan Africa through documentary research and deconstruction theory designs.
This chapter contextualizes the measurability of African musical arts (including music, dance, drama, poetry, and costume art as an integrated whole), through the introduction of a generic evaluation system, which can be implemented outside its culture of origin as recontextualized authenticity. An assessment system is developed, titled The Generic Crosscultural Assessment Framework for African Musical Arts. The framework illustrates that the cultural-educational void between African/indigenous/informal and international/formal music education can be crossed and that the development of a reliable, valid, and objective evaluation system for African musical arts assessment, which can be recognized internationally to the satisfaction of Western and African cultures, is possible. The framework is informed by Western and African indigenous philosophies. A multidisciplinary approach toward the development of cross-cultural assessment standards comprises the syntheses of social studies (including ethnomusicology, translation studies, and cross-cultural studies), educational studies (including international assessment standards, philosophies, and systems) and sub-Saharan African musical arts through documentary research and deconstruction theory designs.
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