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Zoliswa THESIS FRONT PAGES Corrected by CL MUSIC BEHIND BARS: EXPLORING THE ROLE OF MUSIC AS A TOOL FOR REHABILITATION AND EMPOWERMENT OF OFFENDERS AT MTHATHA MEDIUM CORRECTIONAL CENTRE Zoliswa Twani A thesis submitted to the Faculty of Humanities, University of the Witwatersrand, Johannesburg, in fulfillment of the requirements for the degree of Doctor of Philosophy in Music. SUPERVISOR: CHRISTINE ELIZABETH LUCIA Johannesburg, 2011 i ABSTRACT My interest in conducting this empirical research exploring music as a tool for rehabilitation and empowerment of prison offenders was sparked by my observation in 2002 of the problematic use of music at Mthatha Medium Correctional Centre (MMCC). Music activities were simply a microcosm of music activities outside prison, and despite the existence of the National Offenders Choir Competitions (NOCC) since 1997, neither offenders nor Department of Correctional Services (DCS) Officials seemed to regard participation in such activities as music education, let alone rehabilitative or empowering. In 2007 I conducted a one-year Participatory Action Research project of four cycles or stages, in the prison, intended to work towards developing and improving musical, self-reflexive, and other life skills. I then used Michel Foucault’s notion of ‘panopticism’ (1978) and Paulo Freire’s theory of ‘conscientização’ (1970) to intepret the music styles, practices, and performances developed during the project and their impact on those involved. Two central questions underpinning this study are, ‘To what extent do music activities subvert the watchfulness of the prison system and environment?’ and ‘How does music encourage offenders to transcend their prisoner status and reinvent their lives as musicians ‘behind bars’, better able to reintegrate into society as rehabilitated citizens?’ Through narrative enquiry and thematic content analysis I examine how the participants’ critical consciousness about music and about themselves was raised and the way in which the praxis (reflection and action) method had changed their lives. In the light of the results from this approach and context, I devised a set of recommendations for a music education curriculum for implementation in South African prisons, ii suggesting that it be implemented using a dialogical life long learning (DLLL) theoretical approach. Keywords: prison, ‘panopticon’ or ‘panopticism’, conscientização, reintegration, rehabilitation, participatory action research, narrative enquiry, thematic content analysis, praxis, and dialogical life long learning theory. iii DECLARATION I declare that this thesis is my own unaided work. It is submitted for the degree of Doctor of Philosophy in Music in the University of the Witwatersrand, Johannesburg. It has not been submitted before for any other degree or examination in any other university. Zoliswa Twani (Name of Candidate) 15th day of August 2011. iv DEDICATION This research study is dedicated to many people. It is especially dedicated: 1. To the research actors that are the subjects of this study, especially the offenders: Mr Ngxishe, Mosa and Vuyo Sis Makholi, it was a delight to work with you. To all of you, it was through your cooperation and willingness to be part of this study that I was able to explore and understand the extent of music’s contribution to the successes and failures in our lives. 2. To my husband Zandisile (Sbali) and daughters Mbasakazi and Khanyisa for their understanding and patience. 3. To my recently deceased mother (Pearl Liwile Fikelepi) who prayerfully and domestically supported this work. 4. To my three sisters and family: Ursula Nobulali, Tembeka and Noxolo as well as my four nieces: Babalwa, Bongiwe (Nototosi), Nosipho and Sihle. 5. To the special family friends and prayer partners in my life: Tinny, Nokwanda, Nyameka, Nontlaza and Nela. 6. To my recently deceased mother-in-law, Eunice Nombewu who emphatically supported the extension of my surname to include my maiden surname – Fikelepi. 7. Importantly, to God for Rhema Umtata Christian Church’s Prison Ministry, through whom came the wisdom and the seed to embark on this PhD dissertation. v ACKNOWLEDGEMENTS I acknowledge the support and efforts of the following people and organisations without whom this research study would have been accomplished: 1. My promoter, supervisor and mentor, Professor Christine Lucia, for helping me from the initial (proposal development) stages of this research, and for her patience, encouragement, loving, caring and critical but underplayed reprimands and yet valued assistance throughout my entire study. I appreciate and value your professional judgement and wisdom in finding experts of international standing to examine my thesis. Thanks a million for this enhancing of the credibility value of my work. 2. My special former student, colleague and friend, Tembela Vokwana for a life changing advice to request the services of Prof. Christine Lucia to supervise my doctoral thesis. 3. A very special colleague, mentor and friend, Dr N.N. Mabovula for constant and untiring support throughout my journey, I will never forget November/ December 2009. 4. Financial support from: The National Research Foundation’s (NRF) Prestige and Equity Scholarship; University of the Witwatersrand’s SAMP/NRF Project; South African Music Rights Organisation (SAMRO); Unitra/Walter Sisulu University (WSU) Vice Chancellor’s and research office under the directorship of Prof. E.A. Akrofi and his assistant, Mrs. Penny Dawson. Also, to my recent employer – Nelson Mandela Metropolitan University’s Research Capacity Development office - for funding the final production of this thesis, and to the Eastern Cape Department of Sport, Recreation, Arts and Culture for funding certificates of participation and for support with providing research evaluators. 5. A special acknowledgement to the South African Department of Correctional Services (DCS) and Mthatha Medium Correctional Centre Management Area for permission, approval. and guidance for conducting this research study. 6. Priscilla Hall, thank you so much for editing my work and the useful and valuable comments you made. I am greatly indebted to you for the new knowledge gained. 7. Professor Jean Kidula of Georgia University. I appreciate every minute you spent on critiquing my work. May God bless you for the seeds you have planted. I love you. vi TABLE OF CONTENTS Title page Abstract ii Declaration iv Dedication v Acknowledgements vi Chapter 1: Orientation and background 1 1.1 Introduction and background of the study 1 1.2 The South African prison system 4 1.3 Current rehabilitation initiatives 6 1.4 History of the NOCC 7 1.5 The arts and rehabilitation in South African prisons 9 1.6 South African choral music outside prisons 10 1.7 South African prisons and music 13 1.8 Prison programmes: An international perspective 15 1.9 Motivation for the research methodology 19 1.10 Theoretical framework 27 1.11 Concluding thoughts 35 Chapter 2: Introductory cycle and activating workshop 36 2.1 Introduction 36 2.2 Preparatory meetings 36 2.3 Cycle 1 43 2.3.1 Cycle 1: Activating workshop Part 1: Expectation 43 2.3.2 Cycle 1: Activating workshop Part 2: Explanation 50 2.3.3 Cycle 1: Activating workshop Part 3: Participation 54 2.4 During Cycle 1 58 2.5 Cycle-end meeting of Cycle 1 66 2.6 Concluding thoughts 72 Chapter 3: Second cycle: Research into topics and evaluation of oral and practical presentations by offenders 73 3.1 Introduction 73 3.2 Cycle 2: Part 1: Activities of the 11 music circles 75 3.2.1 Learning basic music theory: Masifunde Sonke (Let Us Learn Together) 75 3.2.2 Sifunda Ukusina uHubhe (We are learning to perform) uHubhe : Thuthukani Mampondo 78 3.2.3 Learning to read tonic solfa notation: Double Quartet 83 3.2.4 Sifundisana Ukusina (We are teaching each other how to perform) Indlame : Nyandeni Cultural Group 86 3.2.5 Learning Isicathamiya Dance Steps: The Peacemakers 90 3.2.6 Imfene Isinwa Njani? (How is Imfene performed?): Masibuyekeze (Let us restore) 92 3.2.7 Learning to sing Gospel songs: The Juvenile Gospel Group 93 3.2.8 We are learning to play the recorder: The Recorder Group 96 3.2.9 Basic conducting and singing skills: Mthatha Choir 99 3.2.10 Learning to read and write staff notation: Music Literacy Group 100 3.2.11 Learning two Gospel songs and keyboard skills: Masakhane Gospel Group 103 3.3 Cycle 2: Part 2: cycle-end meeting 107 3.3.1 First day of cycle-end meeting of Cycle 2: 29 June 2007 108 3.3.2 Second day of cycle-end meeting 114 3.3.3 Evaluation of the music circles and comments by invited participants 117 3.4 Concluding thoughts 120 Chapter 4: Third cycle: Continuing with research topics and impromptu cycle-end meeting 126 4.1 Introduction 126 4.2 Cycle 3: Part 1 127 4.2.1 Growth and development in Cycle 3 128 4.3 Activities of the music circles 130 4.3.1 Thuthukani Mampondo – UHubhe Music Circle 130 4.3.2 The Choir Music Circle 133 4.3.3 The Conquerors - Double Quartet Music Circle 136 4.3.4 The Peacemakers - Isicathamiya Music Circle 139 4.3.5 The Recorder Music Circle 141 4.3.6 The Juvenile Gospel and the Keyboard Music Circle 143 4.3.7 Nyandeni Cultural Group – Indlame Music Circle 146 4.3.8 Nyandeni YakuMdepha - Indlame Music Circle 146 4.3.9 The Hip-Hop Kwaito Music Circle 149 4.3.10 The Spiritual Dance Music Circle 152 4.3.11 The Visual Art Music Circle 154 4.4 Cycle 3: Part 2: The cycle-end meeting 156 4.4.1 Integration of music and other life skills in the Isicathamiya music circle: The Peacemakers 158 4.4.2 Acquisition of PAR-related skills and knowledge by the Hip-Hop Kwaito Music
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