Music Education and minority groups cultural and musical identities in the ‘newer’ South Africa: white Afrikaners and Indians

Joseph, Dawn; Niekerk, Caroline van

doi:10.1080/14675980701685354

Cited by 6 publications

(6 citation statements)

References 8 publications

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“…The majority of respondents in my study currently include nWME in their teaching practices (68%) and felt it was important for students to receive a diverse nWME (84%). Thus, the majority of music educators agree with scholars about the importance of nWME (Elliott & Silverman, 2015; Joseph & van Niekerk, 2007; Schippers, 2010). Additionally, 42% of respondents who do not currently use nWME, have used nWME in the past (stopping because of a change of schools, type of classes taught, completion of activity, or lack of resources).…”

Section: Discussionmentioning

confidence: 83%

“…Scholars call for the inclusion of culturally diverse musics in educators’ pedagogies and practices (Abril, 2013; Gay, 2010; Joseph & van Niekerk, 2007; Schippers, 2010). In including nWME in their teaching practices, educators are able to decolonize their practices and support the diverse identities of their students.…”

Section: Discussionmentioning

confidence: 99%

“…As reflected in the new curriculum, the last several decades have witnessed a global movement to make education, broadly speaking, more culturally responsive (embracing the ethnically diverse backgrounds of students to make learning more meaningful for all students, Gay, 2010). Influenced by the Tanglewood declaration (1967) and in concert with this movement, some music education scholars have called for more culturally responsive and diverse music education programs (Abril, 2013;Green, 2001;Jellison, 2015;Joseph & van Niekerk, 2007;Karlsen, 2010;Schippers, 2010;Westerlund, 2006). They state that the musics that are taught should reflect the diverse student population (Cain, 2015;Campbell, 2004;Elliott & Silverman, 2015;Goble, 2010;Hess, 2015;Lind & McKoy, 2016;Lum & Marsh, 2012;Lundquist & Szego, 1998;Volk, 1998).…”

Section: Culturally Responsive Music Educationmentioning

confidence: 99%

“…Bowman (2012) postulates that the role of music in personal development of identity is entirely dependent on the type of music that is taught and the way in which that music is taught (p. 31). In addition, Joseph and van Niekerk (2007) state, “The powerful tool of music, also within Music Education, can be used as a platform and/or a vehicle for understanding cultural difference in a pluralistic society” (p. 496).…”

Section: Applicable Literaturementioning

confidence: 99%

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Embracing identity: An examination of non-Western music education practices in British Columbia

Tuinstra

2019

International Journal of Music Education

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British Columbia (BC) is becoming increasingly diverse, so I began this research in an effort to understand the practices of other teachers across BC regarding the inclusion of musics that reflect the cultural diversity of their students. With the introduction of a new curriculum in BC beginning in 2015, music educators across the province can now meaningfully include musics that embrace the cultural diversity of their students. Additionally, Indigenous musics, worldviews, and teachings have their own elevated position as part of the new curriculum and are no longer grouped together with other musics as part of musics from a variety of cultural and social contexts.Thus, I surveyed BC music teachers to understand their current practices, experiences, and attitudes using a mixed-methods questionnaire using both open-and closed-ended questions.Decolonization and historical, philosophical, and theoretical supports for non-Western music education are the frameworks for this research. I distributed my questionnaire via the BC Music Educators' Association listserve and conference, and I received eighty valid responses (N = 80). I discovered that 68% of participants currently utilize non-Western musics (nWM) in their own practices and of the 32% of participants who do not include nWM, 42% have used nWM in the past. Educators reported many benefits that they experienced through the inclusion of nWM, but they also reported some difficulties or barriers. Therefore, I will share the results of this exploration of the current practices, experiences, and attitudes of music educators in BC.

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Section: Discussionmentioning

confidence: 83%

Section: Discussionmentioning

confidence: 99%

Section: Culturally Responsive Music Educationmentioning

confidence: 99%

Section: Applicable Literaturementioning

confidence: 99%

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Embracing identity: An examination of non-Western music education practices in British Columbia

Tuinstra

2019

International Journal of Music Education

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“…This article is enriched by the general agreement amongst scholars such as Nzewi (2005), Campbell (2002), Kwami, Akrofi and Adams (2003) as well as Joseph and Van Niekerk (2007). For example, Nzewi (2005:vii) believes that African music education needs to be redefined.…”

Section: Conceptual Frameworkmentioning

confidence: 99%

Analysis of traditional Pedi religious songs for curricular application in primary school

Lebaka

2014

In die Skriflig/In Luce Verbi

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The Bapedi is an ethnic group in South Africa whose traditional music is not well documented. For this article, 31 traditional Pedi religious songs from 11 elderly Bapedi women in Sekhukhune, Limpopo Province, South Africa were collected and analysed. They were analysed using religious, musicological and contextual perspectives, and two choruses were selected. Eight Sepedi-speaking children from a school choir at Baxoxele Primary School in Soshanguve were observed whilst learning these two choruses. Repetition was used as a powerful, rhetorical and expressive device, skilfully employed to express and internalise faith and to impart dominant emotions. Informal discussions with teachers indicated that the children showed an improvement in their concentration and attitude to schoolwork. Learning these two choruses also unlocked some creative talent and improved their social skills. The joyous nature, rhythmic foundation, harmonic simplicity, and combination of intellect and emotion as well as the repetitiveness and briefness of these songs appealed to both children and adults. It was concluded that for the preservation of traditional Pedi religious music and culture there is an urgent need for the collection and documentation of traditional Pedi religious songs. In recognising their identity, such songs could contribute to the attitudes and cultural values of Sepedi-speaking children. Similar projects are suggested for the other 10 language groups in South Africa.Analisering van tradisionele godsdienstige Pedi-liedere vir gebruik in die laerskoolkurrikulum. Die Bapedi is ’n etniese groep in Suid-Afrika wie se tradisionele musiek nie goedgedokumenteer is nie. Vir hierdie artikel is 31 tradisionele godsdienstige Pedi-liedere van 11 bejaarde Bapedi vroue in Sekhukhune, Limpopo Provinsie, Suid-Afrika, ingesamel en ontleed.Hierdie liedere is volgens godsdienstige, musiekwetenskaplike en kontekstuele perspektiewe ontleed en twee kore uit die liedere is daarna gekies. Agt Sepedi-sprekende kinders van die Baxoxele Primêre Skool in Soshanguve se skoolkoor, is waargeneem terwyl hulle hierdie tweekore aangeleer het. Herhaling is gebruik as ’n kragtige, retoriese en betekenisvolle hulpmiddel,vaardig toegepas om uitdrukking aan geloof te gee en ’n verdieping daarvan te bewerkstellig sowel as om grootliks emosie daaraan te verleen. Informele gesprekke met onderwysers het aangedui dat die kinders se konsentrasie en hulle houding teenoor skoolwerk verbeter het. Die aanleer van hierdie twee kore het ook hulle kreatiwiteitstalent ontsluit en hulle sosiale vaardighede verbeter. Die vrolike en ritmiese aard, harmoniese eenvoud, die kombinasie van intellek en emosie sowel as die herhaling en bondigheid van hierdie kore het ’n effek op kinders sowel as volwassenes gehad. Die gevolgtrekking was dat daar ’n dringende behoefte is om soortgelyke liedere te versamel en te dokumenteer met die doel om tradisionele godsdienstige Pedi-musiek en -kultuur behoue te laat bly. Deur erkenning te gee aan die aard van sulke liedere kan bygedra word tot ’n positiewe houding van Sepedi-sprekende kinders teenoorkulturele waardes. Soortgelyke projekte vir liedere van die ander 10 taalgroepe in Suid-Afrika word voorgestel.

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Promoting cultural understandings through song across the Tasman: pre-service primary teacher education

Joseph

Trinick

2016

Intercultural Education

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Music Education and minority groups cultural and musical identities in the ‘newer’ South Africa: white Afrikaners and Indians

Cited by 6 publications

References 8 publications

Embracing identity: An examination of non-Western music education practices in British Columbia

Embracing identity: An examination of non-Western music education practices in British Columbia

Analysis of traditional Pedi religious songs for curricular application in primary school

Promoting cultural understandings through song across the Tasman: pre-service primary teacher education

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