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An Exposition of Musical Arts Education in Malawi

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An Exposition of Musical Arts Education in Malawi AN EXPOSITION OF MUSICAL ARTS EDUCATION IN MALAWI ALINANE MILDRED LIGOYA A DISSERTATION SUBMITTED IN ACCORDANCE WITH THE REQUIREMENTS FOR THE MAGISTER MUSICAE DEGREE IN THE FACULTY OF HUMANITIES, ODEION SCHOOL OF MUSIC, AT THE UNIVERSITY OF THE FREE STATE JANUARY 2013 Promoter: Professor Gregory Barz Co-promoter: Mme Gerda Pretorius DEDICATION I dedicate this work to my Lord and saviour Jesus Christ who has given me more than I could ever deserve. Thank you for your extravagant grace. This also I did by your power and to your glory. i Statement of originality I declare that the dissertation ‘An Exposition of Musical Arts Education in Malawi’ hereby handed in for the qualification Magister Musicae at the University of the Free State, is my own independent work and that I have not previously submitted the same work for a qualification at/in another University/faculty. ______________________________________ Concession I, Alinane Mildred Ligoya, do hereby concede copyright of this work to the University of the Free State on this day 30 day of January 2013. _________________________________ ii Acknowledgements All praise and honour belongs to my Lord Jesus Christ for all he has done for me. I can do all things through Christ who strengthens me (Philippians 4:13). My sincere gratitude to the University of Malawi, Chancellor College, for having sponsored me throughout my studies. I would like to thank my supervisor Professor Gregory Barz for challenging me to do my best and believing in me. I have learnt much that I will always carry with me and use academically and personally. I am honoured to have worked under your superior tutelage. My co-supervisor Mme Gerda Pretorius, since I came to the Odeion School of Music(OSM), you have been with me through all the stages, this is one more stage that we have come through together. I will never forget you. Thank you. Professors Nicole Viljoen, Professor Martina Viljoen, and all the staff of the Odeion School of Music, many thanks. I will always be proud to have studied at this institution. Rev Grant Nthala you have known me since I was just beginning. Thank you for your support and invaluable insight. I am indebted to you. Much thanks to my family for supporting me. My parents and siblings you have always made me want to aim higher and be better. My husband Kondwani Mphande you were there every step of the way, Thank you my very own hero. I could not have a more wonderful man to share my life with. Kenalemang Nthlokoa, my perpetual sounding board and muse. Thanks for the long talks and encouragement. To all other who played a part in my studies and wellbeing, I thank you. I could not have done this without you. May God bless you all. iii TABLES OF CONTENTS Declaration and concession ii Acknowledgements iii CHAPTER 1: RESEARCH OUTLINE 1.1 Background and Rationale 1 1.2 Personal motivation, projected impact and utility of study 5 1.3 Research objectives 7 1.4 Research questions 7 1.5 Design and methodology 7 1.6 Scope and delimitations 10 CHAPTER 2: MALAWI Introduction 12 2.1 Malawi: General information 12 2.2 History of Western music education in Malawi 2.2.1 Colonial and Post-colonial era 13 2.2.2 Contemporary music education 14 2.2.2.1 Challenges 14 2.2.2.2 Interventions 15 2.3 Geographical and social-cultural particulars of Jali area 16 2.3.1 The Mang’anja 18 2.3.2 The Yao 20 2.3.3 The Lomwe 21 2.3.4 Confluences: socio-cultural issues 22 iv CHAPTER 3: THE NATURE OF MAGULE AND THEIR ROLE IN THE TRANSMISSION OF TRADITION IN JALI AREA Prelude 25 Introduction 26 3.1 What are magule? 28 3.1.1 Functionality 31 3.1.2 Polarities, complementarity and balance 34 3.1.3 Repetition: Cycles and circles 36 3.2 Magule: Three Musical arts practices in Jali 37 3.2.1 Manganje Prelude 38 3.2.1.1 History Function and participation 39 3.2.1.2 Style and instrumentation 42 3.2.2 Malangalanga 3.2.2.1 History Function and participation 49 3.2.2.2 Style and instrumentation 51 3.2.3 Mganda Introduction 53 3.2.3.1 History Function and participation 53 3.2.3.2 Style and instrumentation 55 3.3 Conclusion 57 CHAPTER 4: THE INDIGENOUS MUSIC EDUCATION SYSTEM v Introduction 59 4.1 Basic assumptions and premises 63 4.1.1 Nature of the learner 64 4.1.2 Nature of the content 67 4.1.3 Nature of teaching and learning 68 4.2 Objectives and outcomes Prelude 71 Introduction 71 4.2.1 Overarching objectives 71 4.2.1.1 Community and character building 72 4.2.1.2 Cultivating attitudes and consequent behaviour 77 4.2.2 Specific skills and competencies 83 4.2.2.1 Singing and Song leading 87 4.2.2.2 Dancing 89 4.2.2.3 Instrumentation/percussion 91 4.2.2.4 Language, meaning-making and interpretation 95 4.2.2.5 Aesthetic considerations and creative logic 105 4.2.3 Assessment standards and methods 112 4.3 Techniques of teaching and learning 116 4.3.1 Observational learning 120 4.3.2 Play and trial-and-error 126 4.3.3 Peer education and cooperative learning 130 4.4 Teaching and learning processes 138 4.4.1 Enculturation: Interview with Mrs Gunda, vi song-leader for Malangalanga 140 4.4.2 Apprenticeship: Luis Macheso 144 4.4.3 My Mganda lesson 152 4.4.4 Initiation 156 4.4.4.1 Teaching and learning environment, and basic assumptions 159 4.4.4.2 The curriculum 164 4.5 Summary: A well educated musician in the Malawian context 169 4.6 Conclusion 176 CHAPTER 5: CONCLUSIONS AND RECOMMENDATIONS 5.1 Conclusion 177 5.2 Recommendation 180 Bibliography 182 Appendix 192 Summary 193 Opsomming 195 vii CHAPTER ONE RESEARCH OUTLINE 1.1 Background and rationale Just as there are different languages, there are many different musical systems (Erin Hannon and Laurel Trainor 2007:466). That nearly all societies make music implies that there are also a myriad of ways of teaching and learning music within a variety of music education systems. Each society also has unique systems of knowledge, skills, competences, and behaviours deemed necessary for or indicative of a “well-educated” musician in that society: an ideal of what a successful product of the music education system should know and achieve. The indigenous musical arts in Malawi in South-Central Africa are no different. A “well-educated” musical artist represents the embodiment of the ideals of a given (musical) educational system, producing a fully musically enculturated and functioning member of the society. This research will describe, document, and analyse the indigenous musical arts education system in the Jali area, Zomba District, Southern Malawi. In particular, the research attempts to accomplish the following: explore the music education system in Jali area in terms of conceptualization, objectives, teaching and learning techniques, and processes involved in musical development and learning such as enculturation. explicate what constitutes a “well-educated” musical artist in indigenous musical arts; explore the relationship between the musical arts education/acquisition, and the indigenous knowledge that is believed to permeate and influence the musical arts or simply put, the culture. 1 The compound term Musical Arts commonly refers to the amalgamated performance and plastic arts disciplines of music, dance, drama, poetry, prose, sculpture, and costume arts which are seldom separated in creative thinking and performance practice in sub-Saharan African contexts. Additional musical practices in Malawi include makwaya (choral music) and contemporary reggae, rhythm and blues, Afropop, jazz, and hip hop to name a few. However, in my research I opt to focus on indigenous or local musical arts, although other musical practices are also valid for study and consideration. According to George Dei (2002:339), indigenous knowledge is that knowledge which is unique to a given culture or society characterized by the common-sense ideas, thoughts, and values of people formed as a result of the sustained interactions of society, nature, and culture. Indigenous knowledge is, therefore, closely linked to the people and their way of life and may be understood as a people’s own unique way of thinking, acting and understanding life. Indigenous knowledge is contrasted with knowledge that perhaps has its origin in other cultures or social contexts and has not, over time, become integrated into a people’s way of life. Each community in Malawi, for example, has deep-seated values and beliefs, ways of thinking, knowing, and looking at the world that inadvertently permeate influences and direct life (including the musical arts) in the community. The musical arts are known as magule a makolo athu (dances of our forefathers/ancestors), or magule a chikhalidwe chathu (dances of our way of life), or simply magule (gule is singular). Throughout this dissertation, magule is used synonymously with musical arts Musical arts are such an important part of everyday life in most sub-Saharan African societies because they embody, express, teach/transmit, provide a means of correcting contravened collective values, and keep alive the beliefs and values of those societies. Therefore, for a comprehensive understanding of the musical arts and their education 2 within the specific context of Malawi, the beliefs and values of the society cannot be ignored but are, in fact, central to this understanding. This is especially true when studying the educational system that supports indigenous musical arts, which are inextricably linked to culture and everyday life in any given community.
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