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The Status of Indigenous Music in the South African School Curriculum with Special Reference to Isizulu

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The Status of Indigenous Music in the South African School Curriculum with Special Reference to Isizulu THE STATUS OF INDIGENOUS MUSIC IN THE SOUTH AFRICAN SCHOOL CURRICULUM WITH SPECIAL REFERENCE TO ISIZULU by SIBONGILE MARGARET MKHOMBO Submitted in accordance with the requirements for the degree of DOCTOR OF PHILOSOPHY in the subject LANGUAGES, LINGUISTICS AND LITERATURE at the UNIVERSITY OF SOUTH AFRICA SUPERVISOR: PROF M J MAFELA CO-SUPERVISOR: PROF C D NTULI FEBRUARY 2019 Student Number: 05120853 DECLARATION I, Sibongile Margaret Mkhombo, hereby declare that, The status of indigenous music in the South African school curriculum with special reference to isiZulu is my own work and that all the sources used or quoted have been acknowledged by means of complete referencing. Signature: S.M. Mkhombo Date: 17.09.2019 i ii ACKNOWLEDGEMENTS Firstly, I would like to thank God, the Almighty for granting me courage, strength and wisdom to complete this study. Secondly, it is with honour and dignity that I acknowledge the following individuals: • My promoters, Prof. M.J. Mafela and Prof. C.D. Ntuli for their patience, wisdom, guidance and ever encouraging spirit. You have been my inspiration and persistently carried light of hope throughout this study, thanks Professors, God bless you!! • My sincere thanks to the principals, SMTs, teachers, parents and young adults. This study would not have been possible if it were not for your friendly cooperation. • To my family, my church “GOD NEVER FAILS”, my two beloved sons Blessing and Neo and friends go my sincerest thanks for their love, support, prayers, motivation and encouragement. iii ABSTRACT The research raises concern for the practical and theoretical problems confronting pre-primary to secondary schools regarding the implementation of indigenous African music in the present curriculum. This research investigates the status of indigenous African music in the South African school’s curriculum for the purposes of its inclusion with special reference to isiZulu. The study utilised qualitative interview, observation method and existing documents for the collection of data. Participants were asked to highlight the importance of including indigenous African music in the present curriculum as a core subject, and secondly, what can be done to promote indigenous African music to South African communities? This study records the importance of isiZulu belief systems, customs and performance tradition. It looks at indigenous isiZulu music both past and present, what it offers to the community of South Africans. The research reveals that isiZulu music can be used to recall enjoyable commemorations, express peace, and happiness and motivates team spirit as it can organise activities geared towards community development if included in the school curriculum. It also nurtures social integration, which can enhance understanding in learning. Some songs are composed to instil socio-cultural values in establishing social relationships amongst the individuals and societies, also consolidate social bonds and create patriotic feelings. Music also contributes to the child’s development and psychological abilities. The study further revealed that the battle for the soul of African Languages is not yet over. Rather than the languages becoming increasingly appreciated and embraced by the owners, there is evidently a decline (Salawu, 2001). This worrisome decline is marked by the advancement of technology and craves modernity; they see everything (culture, indigenous African music and language) as primitive. It is apparent that the originality and excellence in African culture and languages are quickly vanishing, as there remains only a small indication of that genuine tradition. The study therefore, helps Black South Africans generally to relate to their folk-lore and to maintain their cultural principles, values and rebuild their sense of national identity and will also work to broaden the curriculum in schools from Foundation Phase to the FET Phase. iv Key terms: Curriculum Culture Decolonisation Folklore IsiZulu contemporary songs IsiZulu folksongs IsiZulu traditional songs Music Songs v LIST OF ABBREVIATIONS ABET Adult Basic Education and Training AFR Afrikaans AI Appreciative Inquiry AL African Languages ANA Annual National Assessment ASSESS Assessment ATP Annual Teaching Plan CA Creative Arts CAPS Curriculum and Assessment Policy Statement DBE Department of Basic Education DBET Department of Basic Education and Training DET Department of Education and Training DoE Department of Education ECD Early Child Development EMS Economic Management Sciences ENG English FAL First Additional Language FET Further Education and Training Phase FP Foundation Phase GEO Geography GET General Education and Training Band HL Home Language vi HST History IAM Indigenous African Music IKS Indigenous Knowledge Systems IP Intermediate Phase LO Learning Objectives LO Life Orientation LS Learning Standards MATHS Mathematics MATHS LIT Mathematical Literacy NCS National Curriculum Statement NS Natural Sciences OBE Outcomes Based Education OAU Organisation of African Unity PD Professional Development PSW Personal Social Well-being RSA Republic of South Africa SAMES South African Music of Education Society SMT School Management Team SP Senior Phase SS Social Sciences TECH Technology vii TABLE OF CONTENTS DECLARATION i ACKNOWLEDGEMENTS ii ABSTRACT iii KEY TERMS iv LIST OF ABBREVIATIONS v CHAPTER ONE: INTRODUCTION 1.1 INTRODUCTION AND BACKGROUND TO THE STUDY 1 1.2 PROBLEM STATEMENT 3 1.3 RESEARCH QUESTIONS 4 1.4 AIM AND OBJECTIVES OF THE STUDY 4 1.4.1 Aim.…………………………………………………………………………4 1.4.2…………………………………………………………………………………4 1.5 JUSTIFICATION 5 1.6 SIGNIFICANCE OF THE STUDY 6 1.7 DEFINITION OF TERMS 7 1.7.1 Curriculum…………………………………………………………………….7 1.7.2 Folklore……………………………………………………………………...8 1.7.3 Music………………………………………………………………………..8 1.7.4 Culture…………………………………………………………………………9 1.7.5 Songs………………………………………………………………………..10 1.7.5.1 IsiZulu folksongs…………………………………………………………....10 1.7.5.2 IsiZulu contemporary songs…………………………………………………11 viii 1.7.6 Decolonisation………………………………………………………………..11 1.8 RESEARCH DESIGN 11 1.8.1 Research methods …………………………………………………………….11 1.8.2 Population……………………………………………………………………..12 1.8.3 Sampling……………………………………………………………………….13 1.8.4 Methods of collecting data…………………………………………………….14 1.8.4.1 Interviews……………………………………………………………………14 1.8.4.2 Questionnaires……………………………………………………………….15 1.8.4.3 Observations method………………………………………………………...15 1.8.5 Data analysis approaches……………………………………………………...16 1.9. ETHICAL 16 1.10 CHAPTER LAYOUT 17 CHAPTER TWO: LITERATURE REVIEW 2.1 INTRODUCTION 18 2.2 LITERATURES REVIEWED 19 2.2.1 Music in the curriculum………………………………………………………19 2.2.2 The status of indigenous African music………………………………………20 2.3 CONCLUSION 27 CHAPTER THREE: THE STATUS OF THE SCHOOL CURRICULUM 3.1 INTRODUCTION 29 3.2 CURRICULUM REFORMATION 29 ix 3.3 THE STATUS OF THE SCHOOL CURRICULUM AT PRESENT 30 3.3.1 Foundation Phase (FP)………………………………………………………..30 3.3.2 Intermediate Phase (IP………………………………………………………..33 3.3.3 Senior Phase (SP)…………………………………………………………….35 3.3.4 Further Education and Training (FET) Phase (Grades 10-12)……………….36 3.4 OVERVIEW OF TOPICS AND WEIGHTING 37 3.5 CONCLUSION 55 CHAPTER FOUR: VIEWS OF SOCIETY ON THE CURRENT STATUS OF INDIGENOUS AFRICAN MUSIC IN THE SCHOOL CURRICULUM 4.1 INTRODUCTION 57 4.2 POPULATION AND SAMPLING 57 4.3 COLLECTION OF DATA THROUGH INTERVIEWS 58 4.3.1 Data collection procedures……………………………………………………60 4.3.1.1 Focus group interviews with SMT’s and teachers………………………….60 4.3.1.2 Individual interviews with principals, parents and young adults…………..60 4.3.2 The profile of participants……………………………………………………61 4.3.3 Participants’ responses……………………………………………………….62 4.4 COLLECTION OF DATA THROUGH QUESTIONNAIRES 71 4.4.1 School Management Team…………………………………………………71 4.4.2 Young adults……………………………………………………………….73 4.4.3 Parents ……………………………………………………………………...77 4.4.4 Teachers……………………………………………………………………79 4.5 COLLECTION OF DATA BY OBSERVATION 92 4.6 CONCLUSION 93 x CHAPTER FIVE: THE ROLE AND FUNCTIONS OF INDIGENOUS ISIZULU MUSIC (FOLKSONGS) 5.1 INTRODUCTION 94 5.2 INTRODUCING INDIGENOUS AFRICAN MUSIC 94 5.3 THE ROLE AND FUNCTIONS OF INDIGENOUS ISIZULU MUSIC (FOLKSONGS) 97 5.3.1 Music as a tool for enjoyment, revitalisation and entertainment…………………...98 5.3.2 Music and preservation of culture…………………………………………………..105 5.3.2.1 Amahubo……………………………………………………………………………105 5.3.3 Music and the promotion of teamwork among individuals…………………………109 5.3.3.1 Historical……………………………………………………………………………111 5.3.3.2 Wedding songs……………………………………………………………………. 112 5.3.3.3 Sangoma songs……………………………………………………………………..112 5.3.3.4 Community song: Ibambeni (Hold on)…………………………………………….114 5. 3.4. Music as a tool for conveying feelings and emotions ……………………………..118 5.3. 5 Music as a facilitator of conformity to social norms………………………………125 5.3. 6 Music as a tool for communicating personal and communal concerns……………128 5.3.6.1 Isicathamiya……………………………………………………………………….129 5.3. 6.2 Umaskandi………………………………………………………………………..131 5.4 CONCLUSION……………………………………………………………………….134 xi CHAPTER SIX: THE IMPORTANCE OF INCLUDING INDIGENOUS AFRICAN (ISIZULU) MUSIC IN THE SCHOOL CURRICULUM 6.1 INTRODUCTION 136 6.2 A REVISIT OF THE NATURE OF THE CURRENT CURRICULUM 136 6.3 THE INCLUSION OF INDIGENOUS AFRICAN (ISIZULU) MUSIC IN SCHOOL CURRICULUM 138 6.3.1 Indigenous African music embodies culture………………………………………..149 6.3.2 Indigenous African music reinforces collective identities………………………….153 6.3.3 Indigenous African music teaches the history of the nation………………………..156 6.3.4 Indigenous African
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