Promoting Cultural Diversity: African Music in Australian Teacher Education

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s for mumsic Promoting cultural diversity: e ducation incorporatede African music in Australian teacher education

Dawn Joseph

Deakin University

Abstract Australia is forged by ongoing migration, welcoming a range of cultures, languages and ethnicities, celebrating a diverse range of the Arts. In this multicultural society, music and dance may serve as a positive medium to transmit and promote social cohesion. I argue that the inclusion of innovative and immersive practice of African music in teaching units may foster understandings of culture in education settings. In this paper I discuss tertiary students’ experience in relation to the teaching and learning of African music within higher education courses. Drawing on interview data with six sessionals, questionnaire data, observation notes, anecdotal feedback and narrative reflection, I employ Interpretative Phenomenological Analysis to analyse and code the data into two broad themes. By offering a discussion on teaching and learning African music, I invite international dialogue regarding best practice for preparing, assessing and evaluating our students to raise/enhance the quality of Musical Arts Education. Key words: Teacher Education, African Music, Music Education, Cultural diversity Australian Journal of Music Education 2016: 50(2), 98-109

Introduction diversity of people in the Australian context, the ‘Arts’ are embedded as a way of learning Australia comprises people from many nations and teaching about people’s identities, cultures bringing a variety of languages and cultures and practices as they open up new ways to from all parts of the globe including Africa. connect people and the world (Greene, 1995). In this diverse land ‘down under’ people have Music is identified as the most universal of the the right to “celebrate, practice and maintain performing arts, serving “as an integral part of their cultural traditions within the law and free other performing art forms and other domains from discrimination” (Australian Government, of intangible cultural heritage” (UNESCO, 2016). Department of Social Services, 2014). The notion In a multicultural society, the provision of of multiculturalism, found in language, culture multicultural arts education within the curriculum and religion is supported and respected as has the potential to help achieve national a shared experience that benefits the nation reconciliation when we recognize and value (Australian Government, Department of Social difference, rather than promote social difference Services, 2013). The inherent value of culture, (Joseph, 2006). its contribution to society and its symbiotic Why focus on Africa one might ask? The simple relationship with teaching and learning are key answer is that I come from Africa and form part elements in any given society. Within this rich of the African diaspora. As 4th generation South

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African, I still maintain a strong association to my adapting [PSTs] practice” when in educational or homeland, its culture and music. As migrant, I community settings (Young, 2006, p. 1). share diaspora features with people from Africa This paper focuses on a metropolitan university including shared memories, “a commitment to in Melbourne where the inclusion of innovative keeping the homeland alive through symbolic and immersive practice promotes understandings and direct action, the presence of the issue of of music and culture in educational settings and return…a consciousness and associated identity the wider society. It also opens up dialogue of expressed in Diaspora community media, creation how best tertiary educators can prepare PSTs to of Diaspora associations or organizations and improve the quality of Musical Arts Education in online participation” (Ratha & Plaza, 2011, p. 48). Australian teacher education and in other parts of Through this connection of sharing and exchange, the globe where, for example, indigenous African I include African music in my teaching at Deakin music, culture, dance and the visual arts (African University (Victoria). As a university student and Musical Arts) can be promoted. The Musical Arts when teaching in South Africa before immigrating, of Africa comprise spiritual, scientific and non- I learnt about African music and I continue to do verbal manifestations according to Nzewi (2005); so in the so called “spaces in between” that “are however, this is not the focus of the paper, nor marked by multiple forms of engagement” such as is the debate and discussion about Indigenous ongoing professional development, conferences Aboriginal music. However, Aboriginal and Torres that focus on African music and the exchange of Strait Islander People’s music and culture is to be teaching, learning and assessment viewpoints on taught within the new Australian Curriculum (see African music with academics in parts of Africa ACARA, 2016). and in South Africa (Zeleza, 2010, p. 211). Zeleza (2010, p. 211) further points out that “it is between Background: Africans in Australia the diaspora and the homeland, of movement, of travel between a ‘here’ and a ‘there’ both in For many Africans, Australia has become their terms of time and space” that fluid symbolic and new home as some have come by choice (skilled concrete connections take place. workers and professionals) and others driven As a tertiary educator, I felt it important that because of humanitarian needs, economic my Australian pre-service teachers (PSTs) gain uncertainly, political unrest, famine, lifestyle and some skills, knowledge and understandings of safety. It is important to note that not all people music from another land like that of Africa for moving from Africa are indigenous black people, example, because white ‘Anglo Celtic’ classrooms many have European heritage and in my case are becoming extinct in many Australian schools, Indian heritage. There are approximately 140 and, increasingly more children from other million Africans living outside of Africa (Kayode- parts of the world (some from Africa) will be Anglande & Spio-Garbrah, 2012). Approximately encountered in their future classrooms. As a 1,590 Africans have lived in Australia from as music teacher educator, I am expected to “train early as 1861; this number has increased over professionals who will pass on our musical culture the years to 248, 699 in 2006 (Hugo, 2009). The from the many generations of the past to the new September 2015 census shows that there are 23.8 generation of tomorrow” (Tertiary Music Education million people living in Australia, with 5.9 million in Australian, 2011, p. 13). Through reflection and in Victoria (Australian Bureau of Statistics [ABS], discourse with PSTs and teaching staff around the 2016). From Sub-Saharan Africa, South Africans practice of African music, the outcome from such represents the highest percentage of immigrants understanding may provide “a starting point for settling in the major States like Victoria (Hugo, 2009). From as early as 1911, there were 649

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South Africans in Victoria; this has increased to and music of Africa is as diverse as its people 24,219 in 2011 (Museum Victoria, 2016). South (Miya, 2003). It has a vast array of meanings Africa is ranked 8th from the top 10 countries in attached to traditions and symbolism (Ajala, the world immigrating to Australia, making up 2011). For the majority of African people, culture 0.8% of the population (ABS, 2016). The second is communal where music permeates every facet largest group of countries of origin of Africans of traditional life (Warren, 1970), and is something in Australia include Sudan, Eritrea, Ethiopia and communicative, interactive and participatory Somalia (the Horn of Africa), with arrivals coming (Opondo, 2000). Music brings people together, predominantly as refugees since the 1980s (Hugo, “strengthening the fabric of the community 2009). which in turn reinforces people’s commitment to According to Udah (2014) African professionals support each other and the community” (New migrating to Australia since 2000 have added to World Encyclopedia, 2016). Hence, the notion of the brain drain of Africa. Despite this, Hugo (2009) African culture has always served “as a powerful points out that they can provide knowledge and cultural crucible and signifier of African diaspora skills transfer to their home countries. Some do identity formation and engagement” (Zeleza, this through trade and investment across the two 2012, p. 546). continents (Addy, Wijkstrom & Thouez, 2003), Music plays a significant role in the life of the and in my case I do this through the teaching African people where they “express life in all of and learning of African music across the two its aspects through the medium of sound” (Beby, continents. Economically, people from Africa 1975, p. 3). The oral tradition of storytelling plays a influence and promote trade between Australia significant role in their life. They learn about their and their countries of origin (Udah, 2014). This culture, belief systems and traditions through the trade connection also posits itself within the social passing down of knowledge (Utley, 2016; Tuwe, context, where the sharing of African cultural and 2016). In this way “indigenous music is an oral music traditions contribute to the vibrant mosaic tradition that aims to transmit culture, values, that makes up a diverse Australia. Though there beliefs and history from generation to generation” is an increase of Africans coming to Australia, (Nompula, 2011, p. 372). The sonic world “involves Lyons and Dimock (2003) confirm that there is the language, the customs and values of the not much funding to support African studies at society”; in the same vein as language is tonal universities in Australia. The only way that African so too does “the music adhere[s] to the tonal studies in Australia at tertiary institutions have inflection of the words” (Onwuekwe, 2009, p. 72). continued, they argue, is “mainly because of Music and dance are integral to African culture dedicated academics, who continue their research and practical education from birth as they help and teaching on African issues” and “who work in prepare the people to participate in the areas isolation in their respective universities” (Lyons of adult activity, for example fishing, hunting, & Dimock, 2003, p. 331) which is currently my farming, grinding maize, attending weddings and situation. funerals and dances (van Rensburg, 2016). The vastness of the African terrain varies and so do the A ‘taste’ of African music and culture music, dance, instruments, language and cultures. Hence, it is not possible to cover all aspects of This subsection cannot do justice to the vast and African music in the teaching units/subjects due rich world of African music, life and culture as the to limited time and resources; rather, PSTs are three parts are intertwined. My ‘taster’ is merely introduced to the music, movement and culture a starter to the main meal, which is an ongoing of Africa and gain some skills and resources on lifelong study of Africa and its people. The culture

100 50(2) 2016 African music in Australian teacher education how to teach African music in the primary and or Attitudes and perceptions of Arts Education secondary classroom. Students: preparing culturally responsive teachers (2010-2014) focussed on how best tertiary Deakin University educators can prepare our students to be Since joining the university in 2001, I have culturally responsive in the Arts by investigating included African in particular South African music ways to be inclusive in our practice. The as part of the unit content (subject) delivery for second project Pre-service teacher attitudes and music. As a migrant, I brought with me music understandings of Music Education [2013-2017]) from my country of origin to the society I now live investigated music pedagogies, teacher identities and work in as a way to help create a “sense of and engagement in non-western music. I draw togetherness and in building and strengthening on interview data with six sessional teaching their [my] own minority community” at my staff (part-time staff known as sessional tutors) place of work (Rastas, 2015, pp. 82-83). African between 2010 and 2016. The term ‘sessional’ music is offered within the undergraduate and is used for those who work on a contract basis postgraduate music-teaching units (primary and are part time (Anderson, 2007). Increasingly and secondary) and also as an elective unit more sessional staff are being employed at taken across any faculty in the university. In my Australian universities for several reasons (Percy, ongoing research writing specifically about music Scoufis, Parry, Goody, Hicks, Macdonald, Martinex, education, I have found that by including a new Szorenyi-Reischl, Ryan, & Sherifan, 2008). In my and different genre such as African at both school case, sessionals taught my classes when I was and university settings, students gain a better beyond my workload. understanding and appreciation of difference In addition, to sessional data, I drew on (see Joseph, 2003; Joseph, 2005; Joseph 2006; questionnaire data across the two projects Joseph & Human, 2009; Joseph & Hartwig, 2015). (from 277 students, 214 responded to the For this paper, I focus on a core Primary Arts questionnaire). From 179 students, 157 returned Education unit (EEA411) and a music elective the questionnaires for the Primary Arts Education unit (ECA110) within Bachelor of Education unit, 19 out of 30 responded for the secondary (primary) course, in addition to secondary Arts Discipline Study units and 65 from 68 for Arts Discipline Study units (ECA433 & ECA434 the elective unit. The anonymous questionnaires within the Bachelor of Arts/Bachelor of Teaching were either left on the piano on the day it was and ECA733 and ECA734 within the Master administered by a research assistant or the of Teaching course). African music forms an sessional, or left for collection in a ‘drop off box’ aspect of multicultural music within these units pinned to the notice board outside my office. I also (for more information on the units see Deakin include my narrative reflection (observation notes University, 2016b). and anecdotal feedback) to inform my discussion. As this is a small-scale qualitative study in the social sciences (Burns, 2000; Denzin & Lincoln, Methodology 1998; Yin, 2003) generalisations cannot be made For this paper, I only discuss key aspects that to other universities in Australia nor to teacher relate to the teaching and learning of African education programs. I employ Interpretative music from the two wider projects where Phenomenological Analysis (IPA) to analyse and permission to undertake the project was code the data into themes using thematic analysis. granted through Deakin University’s Human IPA focuses on phenomenology, hermeneutics and Ethics Advisory Group projects. The first project idiographic studies as a way to explore the lived

Australian Journal of Music Education 101 Joseph experience of the participants (Kirkham, Smith & is inseparable from moving. One interviewee Havsteen-Franklin, 2015; Smith, Flowers & Larkin, affirmed, “dance has got to go with music”. 2009). The process of coding involves reading She further added, “movement and dance is a the text, preliminary identifying of themes, then wonderful integration with music and I think that grouping them into clusters before tabulating it’s the best way to teach music through using them (Biggerstaff & Thompson, 2008). Callary, your body, through body percussion, through Rathwell and Young (2015, p. 73) confirm that “IPA movement, through folk dances, we can learn is rigorous and produces a plethora of rich data”. all the musical concepts”. Through movement Using direct quotes from participants (McCarrick, and music we may gain cultural understandings Davis-McCabe & Hirst Wintrop, 2016), I focus on of people from different lands. From the six two themes: the importance of African music and sessionals, only one has been eight times to West culture and ways of teaching and learning African African (Ghana) for training and professional music. development and has brought out several African musicians from Ghana to perform and teach in Findings and discussion Melbourne. He said “African music has simplicity and complexity at the same time” when teaching The Anglo Australian sessional staff taking the it he “lets the music talk for itself… I encourage units were all highly qualified music educators people to have fun with it, to make mistakes and from Australia with decades of teaching enjoy it”. In his training in the 1980s his Australian experience at schools, tertiary institutes and teacher brought an Afro-American Ghanaian community settings. One sessional is an expert academic to the University of Melbourne who in West African music, where he undertook affirmed, “you don’t have to be African to be able many years of study in parts of West Africa, in to play this and even to play it well”. A misbelief particular Ghana, and continues to do so. Though is that you need to be black to be able to do, all sessionals were Western trained musicians and play or teach African music, which in the former music educators like myself, they incorporated Ghanaian’s words is “absolutely untrue as this is African music into the units as a way to foster not the case”. inclusive curriculum that promotes cultural This is also the case with myself as I am not diversity in Australia. The sessionals used music indigenous African, yet I teach about African from countries such as Ghana, Kenya, Zimbabwe music, movement and culture. As I am not and South Africa. The songs they used were either considered ‘black African’, I position myself as taken from online material, or their own resources having what Ntuli (2001) calls an endogenous or when undertaking professional development. rather than indigenous perspective to my understanding and teaching of African music The importance of African music per se. I lived and grew up as a non-white person and culture in Johannesburg over three decades before Sessional staff voices immigrating, as such, I am assimilated and integrated into indigenous perspectives to the For all interviewees, African music was an active point that it has become part of what Ntuli (2001) musical Art process. One felt it involved “a refers to as a ‘collective heritage’. combination of singing, saying, moving, dancing When the sessionals were asked about the and playing”. As more people in Melbourne connection music has to culture, all of the attend live African concerts or participate in drum interviewees strongly agreed that African music circles and community music groups, they are was strongly connected to culture. One found becoming familiar with the notion that singing

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“we can learn so much about ourselves and our like African music is one of the ways that we can music through cultures”. As Australian classrooms make them [students] feel that they are part of become increasingly multicultural, another the class. It helps to build their self-esteem, their affirmed “you’ve also got to have the respect for confidence”. the kids and their culture because you’ve got a lot Although the teaching and learning of African of them from all over the place. At the moment music formed an aspect of the teaching units, one there are a whole lot of people from Somalia sessional said: and Ethiopia around”. Hence the need to have I loved it. I really enjoyed it. I look forward to it and some understanding of the children whom PSTs it was something different and I really wanted to do may have in their future classrooms. Through it. Cause I don’t have great expertise or experience the teaching and learning of another music with the African things, I did a lot of your [Author] and culture, another interviewee found “they’re activities for those and it went really well. learning about history, and they’re learning about the social understandings, they get to know of Another added: another culture, and people”. According to Volk I’ve always believed learning is through doing, (1998), writing about America and Canadian not through sitting and listening to someone else. studies, she found it is “through the study of And that was what we did in the class and so they various cultures, students can develop a better enjoyed it. They loved it and I think they got a lot understanding of the peoples that make up out of it. I hope they did. They seemed to. American society (in this case Australian society), gain self-esteem, and learn tolerance for other” (p. The essence of teaching and learning African 6). She points out the need for students “to learn to music is in the actual ‘doing’ as one sessional respect the music of its various cultural subgroups” found “doing it is a very immersive thing, it has (p. 6). very positive results for them…they would have Learning about other people and cultures up skilled to a certain degree”. such as African is one of the four aims of the One sessional expressed: Music curriculum in the Victorian Curriculum We do the verbalisation and the rhythm and all (see Victorian Curriculum, 2016). All teacher of that sort of thing…we had stamping, and education programs in the State of Victoria where clapping, and saying, and doing, and reading, the university is situated draw on the Victorian and everything else, and they loved it. We used Curriculum when preparing PSTs for primary the Djembe drums and we used a lot of body and secondary teaching. The curriculum aims percussion… and oh they loved the marimbas and to develop students’ “aesthetic knowledge and so did I. respect for music and music practices across global communities, cultures and musical I concur with the sessionals that, though the traditions” (Victorian Curriculum, 2016), which PSTs enjoy learning about African music, their is why the inclusion of non-western music and best experience of it is through ‘performance’, in culture is fostered within the teaching units. the actual doing. By making connections with Five of the six sessionals said that they were not each other they form a bond with fellow peers specialist or trained to teach in African music, one and build a sense of camaraderie that occurs did acknowledge “it takes years to develop a whole when you play with each other rather than for swag of strategies that you can use to engage each other. All teaching units have an online students in learning”. Another found by having a presence that is known as the ‘cloud’ where variety of music abilities in the class, “something notes are provided weekly to support the face- to-face classes. Over the years, I have written

Australian Journal of Music Education 103 Joseph up information on African music and culture been possible for them to have an ‘immersion’ to provide background information about the where they visit either South Africa or other parts diversity of African music, the people and culture. of Africa. This online information provides sessional tutors Students found that learning something with material for the class and also helps PSTs ‘new and different’ like that of African music revise the material should they miss a class. places them all on the same level playing field. All material uploaded in the cloud is copyright Comments such as “I like learning about the checked by myself and the university library. Only history and culture”, “it is very different from those students enrolled in the unit have access European music”, “I have learnt that music and to the material online (academic readings, sound culture are connected” and “I understand why it clips, video footage and classroom teaching is an oral tradition of passing down knowledge material). The best way to teach and learn African and serves to keep the community together” all music is not in the ‘cloud’ but rather in class provide a good understanding of what African through practical hands-on engagement. From music and culture means to the predominantly 2016, the secondary Arts Discipline music units white Anglo-Australian student. For all students, are echo recorded to assist off-campus with the it is the playing of instruments and singing that in-class activities. The positive feedback has also is uplifting. As one student aptly summarises: “it meant that on-campus students can revise the inspires me to go travelling to Africa”. The sessional unit material through the echo recordings. recalls when he first went to Ghana it felt like he had “landed on Mars”. This excitement would be Student voices similar for the students if I took them to South In the main, students across the two projects Africa, for example, a country I am familiar with, as had mainly positive comments about the African I lived there for many years. music component within the various units. This may be because it was something new, different Ways of teaching and learning and challenging to explore and experience. It African music may also be this aspect of the unit gave them Sessional voices the opportunity to be transported to another land, people, culture, genre and time. Their The way African music was taught varied with understanding of what is African music included the sessionals as some focussed on voice, others phrases such as “it is about communication”, on instruments and some used a combination “it is community based”, “the music is about of voice, instruments and dance/movement. polyrhythms”, “it is about learning the culture, It was clear that all sessionals found using the the dance and the music”, “it’s about the culture, Internet (YouTube clips) a useful way to show having respect for your elders” and “it is taught and talk about the variety of traditional African orally”. Some of the adverse comments included: songs (wedding song or harvest song), different “I find it hard to sing and move and play at the instruments such as the kora from Senegal or same time”, “we don’t have enough time in class the mbira from Zimbabwe. Only some African to do it”, “why can’t we have more of African instruments (djembe, dun dun, shekere, agogo, music in the unit!”, “there is so much to know I claves, marimbas, maracas and caxixi shakers) get confused with the rhythms” and “I find the are provided in the music teaching space. One language hard”. Students do request yearly that sessional said he taught African music in an a study tour to Africa be organised as it would authentic way just as he was taught giving be most beneficial for them. However, it has not the example of Kpanlogo (music and dance/

104 50(2) 2016 African music in Australian teacher education movement from Ghana). He explained initially activities which explore music and aspects of the “short patterns are taught, getting them techniques and knowledge of music…we work to learn the co-ordination to be able to do with African rhythm patterns”. The experienced it”. By layering a constructivist approach he sessional in Ghanaian music acknowledged, “in also taught “community songs, so not overly Africa they use syllables”, he confirmed: complex”. By combining the words, melody and I teach the way I was taught; I use those sounds and simple rhythmic patterns, students gain some explain the relationship between music language understanding about communal participation in for example ‘pah’ and ‘ti’…where there is gradation African societies. This sessional prefers to brings of attack and gradation of vowel sounds...I also use his own collection of African instruments to the pa paa which translates into the low high pitch in class, acquired over the years locally and from language combined with the rhythm of the words parts of Africa. which is translated into drum mnemonics. One of the sessionals used ‘voice’ as the starting point to talk about the people, language and Another found “the rain stick was a bit of a hit, culture. Teaching songs such as Funga Alafia they loved the xylophones, they loved working (West African welcome song), Banawa (Liberian in groups, they loved singing with others…I song) or Siyhamba (South African Traditional gave them tiny little tasks so that they it layered song) was an accessible, quick and easy way up”. The constructivist approach to teaching and to effectively engage with something new and learning takes into account that learning occurs different. She said, “we all have a voice, students as learners are actively involved in a process of have a voice, so even if you go into a school with meaning and knowledge construction rather no equipment you can use your voice that’s the than passively receiving information. In this way basis of everything”. By starting with a short song the PSTs /students are the makers of meaning and using ‘call and response’ a common feature in knowledge. By using a constructivist approach, African music she pointed out “I model, they echo critical thinking is promoted which helps foster the words and then we sing them together and we independent learners who are motivated (Gray, put actions to them”. By doing this the sessional 1997). visually and aurally was able to assess students and also provide them with a short list of songs Student voices that they could readily try out when on placement Though students enjoyed the African music (practicum/work experience/service training) or in component, most found the language and their future classrooms. All African songs in class pronunciation of words challenging. As most are initially learnt by rote before the music score is students are Anglo-Australian with some ethnic shown to the students. This also helps them build diversity (Italian, Greek, Chinese, Vietnamese, their memory skills and assists them to focus on Sri-Lankan) comments such as “it was a struggle”, the musicianship without having to be distracted “it was hard” “it was different” commonly by the music score; most songs are only two or described their learning difficulties. One student four to eight lines in length. summarised it by saying “it helped when we Improvisation and playing on the instruments phonetically learnt it” and another confirmed “I was always a “winner” in the class as another felt more comfortable having the words in-hand sessional affirmed, “they love composing!” in to help me”. Singing in a different language for a similar way they also enjoyed improvisation. most people is a challenge. It was interesting to Through composition and improvisation one find in the elective unit which focused mainly sessional remarked “I provide examples and on African music, students felt they needed

Australian Journal of Music Education 105 Joseph more time on the content, some felt they were three culturally diverse nations where social “rushed through the experience”, they needed harmony, social inclusion and commitment to “more written examples of work” to assist them respect difference is upheld (The Australian with the assessment task, and “the criteria for the Collaboration, 2013). With an increase percentage assessment task for African music was not clear”. of African migrants, the teaching and learning Many felt “group work is always difficult”. These of African music and culture may serve as a comments related more to ‘marks’ rather than to positive and powerful medium to transmit and the aesthetic experience itself. promote social cohesion and understandings in African music is not taught as an entire unit, a country that is still very western Anglo-Celtic. rather, it is a component within the units, hence Writing from the perspective of tertiary teacher some students found ‘time’ a major constraint educator, the inclusion of African music aligns when learning about African music. One student with the university’s strategic plan to engage summed it up by saying “I’m still learning how to students with “a global perspective and a broader, co-ordinate listening to others play their part and more cohesive and inclusive curriculum” (Deakin playing my own but it definitely has developed”. University, 2016a, p. 7). This also resonates with Another found that the teaching and learning the Australian Curriculum that calls for students was made easy by the sessional as “each song, to “engage with the multiple and culturally instrument and movement was taught slowly diverse practices of music, learning about and in sections”. Learning through demonstration Australian and international music [like that of was key for students; they found it helped them African]” (ACARA, 2011, p. 14). There are several through “copy and repeat and vocalising the reasons why learning about another music and rhythm and instruments sounds”. One said “my culture is beneficial as all sessionals and students teacher explained the rhythm before playing” and across the two wider projects found African another confirmed, “I was taught in a practical music and culture to be a positive way to learn way”. The face-to face teaching experience is about African people, their music and culture. essential when learning to play, move or sing The hands-on practical engagement, classroom African music within a limited timeframe. A discussions and reading materials all contribute mixture of comments emerged in relation to the to their understanding and appreciating of the outcome of the teaching and learning experience. rich and diverse music, culture and tradition of Some said: “I can tap my foot to it, but still find the African people. it difficult to dance to polyrhythms music”, “am As the second largest continent (54 states) with using cues from other instruments to play my a rich music and cultural diversity, it is not possible part”, “mastering a rhythm empowers me” and to cover many aspects of African music within the one found “I am no better than when I started”. teaching units, given the limited amount of time. The above mixed experience of the students The sessionals found they had a lot to prepare for provides a snapshot of some of the challenges classes; one summed it by saying “I had to go back they experienced, it may also provide some and do all the reading and get my material sorted understanding of what perhaps to expect from out and make sure I had material for the students”. primary and or secondary students when they Though preparation was time consuming for teach at a school or if they get to trial something all, it was rewarding for them to see students when on placement (practicum). perform and discuss the music. One sessional pointed out “I love the students I teach and I really Conclusion enjoy watching their faces light up when they are engaged, connecting and joyously sharing their Australia is considered one of the world’s top

106 50(2) 2016 African music in Australian teacher education music with each other”. Another found though the Africa within the school or wider community as learning of something new is different and may this interaction is one valuable and authentic way be challenging; she said “I love the moment when to learn more about their music and culture. Also you look at them and they suddenly get it” which consider inviting them to your class to teach a is similar to what another found when playing on song or talk to the class about African music and the instruments while teaching poly-rhythms, he culture. African music like any other multicultural pointed out “with the poly vocality, with different or world music should be included in all teacher voices and different timbres it all fits together”. education programs. Joseph and Southcott In my observation and in my own teaching of (2011) found in their recent study that there is African music at my university I found students inadequate provision of resources, staffing, and enjoy it and want to play at length once they political will when including multicultural music initially overcome the myth of ‘I can’t play or sing in the classroom. The inclusion of something new or move like an African’. Though most undertake and different like that of African music or any other the units as non-music specialists one sessional non-western music raises questions regarding how observed “they are really reluctant and they are best we, as tertiary teacher educators, can prepare, very negative and they don’t want to sing or play assess and evaluate our PSTs to improve the or move or do anything”, however, when learning quality of non-western music within our teaching something that excites them and placing them courses. The teaching and learning of African on the same level field “the light bulb just goes on music and culture in Australia and in other parts of and they go aaaarrr (a long sigh) this can be fun. I the globe may provide a platform to increase the can do it”. “foundations of tolerance, reducing discrimination Generalisations to other universities in Australia and violence” where “learning to live together” cannot be made from such a small qualitative becomes the norm and not the exception research sample. However, it is hoped that the (UNESCO, 2014). findings by sessional teaching staff and students are insightful and may provide a platform for References international dialogue regarding what is relevant Addy, D., Wijkstrom, B., & Thouez, C. (2003). Migrant and valuable for tertiary students as they prepare remittances – Country of origin experiences – strategies, to be future music teachers. It is hoped that the policies, challenges, and concerns. A paper tabled at three-pronged pedagogy of ‘see, do, hear’ learnt in the International Conference on Migrant Remittances: Developmental Impact and Future Prospects, London, the African music workshops can be adapted and 9-11 October 2003. adopted to actual classroom practice as a shared, Ajala, V. O. (2011). African natural/cultural communication borrowed, listened and danced to experience. media: a survey of meanings and usage at traditional For arts educators, generalist or specialist music ceremonies. Journal of Communication, 2(1), 1-12. teachers wanting to include African music in your Anderson, V. (2007). Contingent and marginalised? music class, consider undertaking African music Academic development and part-time teachers. International Journal for Academic Development, 12(2), workshops, professional development, further 111-121. study, working alongside a visiting artist or artist- Australian Bureau of Statistics [ABS]. (2016). Census in-residence at your school or join a local African edition-preliminary. Retrieved from http://www.abs.gov. drumming circle. There are several teaching au/ausstats/[email protected]/mf/3101.0 resources (books, CDs, lesson ideas and YouTube Australian Curriculum, Assessment and Reporting Authority (ACARA). (2011). Shape of the Australian clips and online material) about African music for curriculum: The Arts. Retrieved from http://www.acara. children in schools which may assist teachers. I edu.au/verve/_resources/Shape_of_the_Australian_ encourage teachers to speak with people from Curriculum_The_Arts_-_Compressed.pdf

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Dr Dawn Joseph is Associate Professor in the Faculty of Arts and Education at Deakin University She teaches in undergraduate and postgraduate programs in the School of Education. Dawn publishes and reviews in national and international journals in the areas of teacher education, music education, African music, cultural diversity and multiculturalism, and ageing and well-being in the arts.

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