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An Emergent Approach to Musical Arts Education Based on the Inshimi Practice of Bemba Storytelling

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An Emergent Approach to Musical Arts Education Based on the Inshimi Practice of Bemba Storytelling The copyright of this thesis vests in the author. No quotation from it or information derived from it is to be published without full acknowledgementTown of the source. The thesis is to be used for private study or non- commercial research purposes only. Cape Published by the University ofof Cape Town (UCT) in terms of the non-exclusive license granted to UCT by the author. University Utushimi: an emergent approach to musical arts education based on the inshimi practice of Bemba storytelling by Joseph Ng’andu Town A thesis presented to the Faculty of Humanities Cape South African College of Music of University of Cape Town In fulfilment of the requirements for the degree of Doctor of Philosophy (Music Education) University Supervisors: Professor Anri Herbst Professor Dickson Mwansa March 2009 Declaration I declare that this work has not been previously submitted in whole, or in part, for the award of any degree. It is my own work. Each significant contribution to, and quotation in, this dissertation from the work, or works, of other people has been attributed, and has been cited and referenced. Signed: __________________________________________ _____ day of __________________________________, 2009. Town Cape of University ii Dedication I wish to dedicate this thesis to my late father, Mwango Basilio Ng’andu, who was a music/medicine practitioner and my earliest inspiration and mentor and to my wife: Kantu children: Munsha, Chileshe, Matebesa, Chiti, Mwango and Mutale Town Cape of University iii Abstract This study investigates inshimi - a musical storytelling practice of the Bemba people in Zambia. The objectives of this study are to collect inshimi and study their educational underpinnings as a teaching medium; study published materials on philosophical approaches to music education; derive an emergent model for musical arts education. The data for this study were collected from the abaBemba nkonko (original Bemba people) of Mungwi and Kasama districts in the Lubemba region. AbaBemba nkonko are considered to be core representatives of the Bemba people and the data collected in these areas reflect the essence of the practice of inshimi among the Bemba people. The data collected were utilised to answer the research questions in particular, as well as to enhance the body of existing data on the practice of inshimi in general. Inshimi were collected from three communitiesTown in Lubemba: Ng’andu village, Mungwi Township and Sofiti Katongo village. The research design was qualitative throughCape ethnographic methodology. Inductive approaches are applied in the analysis ofof data about inshimi. Participant observation was used to collect data and interviews were conducted to clarify information about inshimi. Existing data in the form of texts and songs of stories, as well as texts about storytelling practices, were collected from a variety of archival sources. Inshimi were collected by means of digital video recordings backed up by recordings on an analogue video camera and an audiocassette recorder. University Analysis of the data started with the transcription of the recorded materials of inshimi, followed by translations of these from iciBemba into English. The next stage involved the transcription of the songs into Western staff notation. These transcriptions enabled the researcher to analyse text and music, leading to the final stage, which comprised the analysis of the video footage of the stories and determination of the emerging model. The study revealed in general that the practice of inshimi organises learning and teaching in a holistic manner that allows for in-depth understanding of the self and iv others by, firstly, allowing the mind to grasp the whole. It is only in the second stage that the whole is divided into its component parts. Inyimbo (the song) is a microcosm of inshimi and carries the fundamentals of Bemba musical arts practice such as the call-and-response format, the ascending opening intervals, the descending melodic movement and polyrhythm. Finally the study suggests that embedded in musical storytelling are educational principles that could and should guide musical arts education in Africa and the rest of the world. Town Cape of University v Acknowledgements This study is the result of the co-operation, generosity and hospitality of many people, unfortunately too numerous to individually mention by name. I, however, sincerely thank Professor Anri Herbst and Professor Dickson Mwansa, my supervisors, for their guidance and patient efforts steering my efforts during the study. I would like to thank all research participants at Ng'andu and Sofiti Katongo villages and Mungwi Township. The Universities Science Humanities and Engineering Partnerships in Africa (Ushepia) and International Academic Programmes Office deserve special mention for their support. Although the study was made possible by a grant from the Mellon Foundation through the Ushepia programme of the University of Cape Town, the statement and views expressed are solely my own. Town Cape of University vi Table of contents Declaration.............................................................................................................ii Dedication..............................................................................................................iii Abstract..................................................................................................................iv Acknowledgements................................................................................................v Table of contents ...................................................................................................vi List of appendices..................................................................................................xi List of figures .........................................................................................................xii List of tables...........................................................................................................xiii List of plates...........................................................................................................xiii Glossary of terms...................................................................................................Xiii 1. Statement of the problem, purpose and methodology 1.1 Introduction .................................................................................................1Town 1.1.1 Thought systems informing music practices and education in sub-Saharan Africa ......................................................................2 1.1.2 Philosophical underpinnings of WesternCape music education...............8 1.1.3 Thoughts on cognitive development in music and musical arts educationof ..............................................................9 1.1.4 Music as a tool for learning and teaching ........................................10 1.2 Statement of the problem............................................................................12 1.2.1 Purpose of the study ......................................................................17 1.2.2 Objectives of the study ...................................................................17 1.3 Research design .........................................................................................17 1.3.1 DemarcationUniversity of research field ........................................................17 1.3.2 Sample design and sampling methods ..........................................18 1.3.3 Data collection and fieldwork practice ............................................21 1.3.4 Data capturing ................................................................................22 1.3.5 Data analysis..................................................................................22 1.4 Limitations...................................................................................................26 1.5 Thesis outline..............................................................................................27 vii 2. Literature review 2.1 Introduction .................................................................................................29 2.2 Literature on inshimi....................................................................................30 2.2.1 Bemba musical stories ...................................................................30 2.2.2 Indigenous knowledge systems of the Bemba ...............................32 2.3 Storytelling in sub-Saharan Africa...............................................................33 2.4 Approaches to musical arts education in sub-Saharan Africa ....................36 2.5 Storytelling and general education..............................................................40 2.6 Methodology, data collection and analysis .................................................44 2.7 Summary of conclusions arising out of literature ........................................47 3. Inshimi: Bemba storytelling 3.1 Introduction .................................................................................................48 3.2 Defining inshimi...........................................................................................50Town 3.3 An example of inshimi: Ulushimi lwa kwa Chama ing’umba (The story of barren Chama)........................................................................................51 3.4 Emergent categories and sub-categoriesCape ...................................................53 3.4.1 The structure of inshimi
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