Global Music and Culture: Intersections and Inclusion

Transcription

Global Music and Culture:
Intersections and Inclusion
A Collection of Presentations
at GLOMUS Camp 2013
Co-editors Randall Stubbs & Jacqueline Henninger
Hosted by Tumaini University Makumira, Tanzania
Department of Music
10-20 January 2013
ii
iii
at GLOMUS Camp 2013
Hosted by Tumaini University Makumira, Tanzania
Department of Music
10-20 January 2013
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at GLOMUS Camp 2013
Published by Tumiani University Makumira, Department of Music, Tanzania
Printed in Tanzania by AJM Printers, Arusha, Tanzania 2013
Cover Photo: Randall Stubbs ©2012
©2013 GLOMUS Network. Apart from fair dealing for the purposes of
research or private study, or criticism or review, this publication may only
be reproduced, stored or transmitted in any form or by any means, with
the prior permission in writing of the Publishers.
Copyrighted material in presentations remains the intellectual property of
the respective authors or those credited. If copyrighted material has not
been properly acknowledged please contact the editors and it will be
corrected in future reprints and on the website.
GLOMUS Network activities funded by the following sponsors:
GLOMUS Network
Sibelius Academy
University of the Arts
Helsinki, FINLAND
www.GLOMUS.net
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CONTENTS
Table of Contents
Editors Preface
iii
v
Introduction
1
GLOMUS Camp 2013 Programme
Acknowledgements & Participants
3
9
Papers & Presentations
Keynote: Sylvia Nannyonga-Tamusuza, Uganda
“The role of archives in Africa as intersection of culture(s)” 13
Opening Presentation: Keld Hosbond, Denmark
“Ideological and educational underpinnings of the
GLOMUS vision”
18
Regional Presentation: West Africa (Ghana & Mali)
Senyo Adzei, Awo Mana Asiedu
31
Regional Presentation: South Africa (South Africa and
Mozambique)
Joao Cabral Armando, Dadivo Combane
31
Jacqueline Henninger, US/Tanzania “
Multicultural Music Education Research: The Teaching
and Learning of Cultural Differences"
32
Presentation: Seth Sululu, Tanzania
“Tanzanian Traditional Children’s Songs, Games
and Dances”
44
GLOMUS Network Meeting & North-South-South Meeting:
Tuovi Martinsen, Finland
58
vi
Regional Presentations: Nordic (Finland, Denmark, Sweden)
Pär Moberg (Sweden)
Vilma Timonen (Finland)
67
70
Presentation: Pär Moberg, Sweden;
“The academisation of a musical tradition—
acceptance and resistance”
72
Presentation: Senyo Adzei, Ghana
“Developing contemporary idioms from traditional
musical resources: Creative ethnomusicology—the case
of Zigi musical ensemble”
76
Regional Presentation: Middle East (Egypt, Syria, Palestine)
Mohammed Awad, Amal Elshahed, Moslem Rahal
76
Presentation: Awo Asiedu, Ghana
“Theatre and arts in Ghana”
77
Presentation Dadivo Jose Combane, Mozambique
“The role of theatre education in Mozambique”
84
Presentation: Ahmad Sarmast, Afghanistan
“The challenges and possibilities for music education
in a conflict area”
89
Regional Presentation: Malaysia
Ramona Mohd Tahir
90
Regional Presentation: Tanzania
Adil Dabo, Catherine Mushi
108
Regional Presentation: Afghanistan
108
Presentation: Inhwa So, Korea/ILAM
“Bringing International Library of African Music into the
21st century”
109
Closing Presentation: Randall Stubbs, Tanzania/US, Local Chairman
“GLOMUS—Where do we go from here?”
116
Kelvin Mdadila, Tanzania “Music Education Rap”
126
Closing Session: Host: Thomas Winther, Rector, Royal Academy
of Music Aarhaus, Denmark
130
Global Choir:
Eva Kundek Global Choir Songs
133
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Editors Preface
Randall Stubbs & Jacqueline Henninger
This publication represents a sampling from the many papers,
presentations, demonstrations, and workshops that were part of the
GLOMUS Camp 2013 held 10-20 January 2013 on the campus of Tumaini
University Makumira in Tanzania. This is the first such publication, an
attempt to capture part of the diverse sessions.
As such, the editors are aware that this is not a complete record of all
that transpired. It is impossible to print on paper the interactive sessions,
the musical demonstrations, the thoughtful questions, the unique
opportunities participants had to learn new music from various cultures,
to experiment with elements of drama, to “jam” with musicians from all
around the world, or to give an amazing performance in front of a
packed audience.
It is hoped that future GLOMUS Camps can build on this foundation and
as technology and internet access increase that there can be additional
links and video available to support the written words. There are
supporting materials at the GLOMUS website (www.GLOMUS.net) that
participants may freely access. Others will need to contact the network
administrator to gain access to those electronic materials.
Some presenters work is not included here due to various reasons,
chiefly, lack of written words to print in a book format. That is not to say
that those presentations were any less interesting or academic, merely
that time did not allow the presenters or the editors to include
something here in print form.
The editors thank the organizers of GLOMUS Camp 2013 for providing
funds to publish this small book of proceedings. Even more, that the
Nordic music institutions have had the vision to bring together musicians
from many places to experience the joy of making music together,
bridging cultures, language differences, religious differences, and more.
For all of this there is much to celebrate.
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INTRODUCTION
In 2013, the third GLOMUS camp was held at Tumaini University Makumira
in Tanzania. GLOMUS Camp 2013 was a kaleidoscope of various music
making, interesting presentations, inspirational networking, exciting
excursions (including Safari!), informal and public jam sessions and concerts.
Nordic, Middle Eastern, Asian, American and African music students had the
unique opportunity for meeting, knowledge-sharing, playing with and
learning from other musicians, cultures and traditions.
The Camp brought together more than 80 participants from music
institutions in the following countries:
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Afghanistan
Denmark
Egypt
Estonia
Finland
Ghana
Malaysia
Mali
Mozambique
Palestine
South Africa
Syria
Sweden
Tanzania
USA
The participants themselves represented 23 different home countries,
making it a very international experience.
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GLOMUS CAMP 2013 TANZANIA OVERVIEW
The topic of the Camp was Global Music and Culture: Intersection and
Inclusion The programme consisted of two strands, mixed together every
day:
1. Music Camp
• Intercultural music making
• Regional presentations of various traditions (Arabic, African, Asian,
Middle-Eastern, Nordic)
• Small group sessions (Arabic, South-African, Malian, Tanzanian, and
Nordic music traditions, and also theatre)
• GLOMUS orchestra & Global choir
• GLOMUS jam sessions, both informal and public
• Final GLOMUS Concert, open to the public (at Makumira)
2. Conference and networking meeting
• Intercultural Approaches in Higher Arts Education, Emphasizing Global
Music, Culture and Inclusion
• Development of the GLOMUS network:
◦ potentials, expectations, obstacles, finances, long term
development objectives
◦ program possibilities (e.g. North-South-South program)
To see some of the video and presentations please visit the GLOMUS
website at www.glomus.net Non-participants may need to ask for login
credentials to access these materials.
To view some of the thousands of pictures that were taken please visit:
www.facebook.com/campglomus
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Tanzania
2013
10-20 January
Tumaini University Makumira, Tanzania
4
GLOMUS CAMP 2013 PROGRAMME
10 Jan (Thursday)
12:00
Campus tour for early arrival participants
13:00
Lunch at Good Hope Cafeteria
14:00
short tour of Arusha by bus
17:00
Animal viewing & Dinner at Mt. Meru Game Lodge
Music by Daris & friends
20:00
transfer to accommodation, free evening
11 Jan (Friday)
07:45-08:30 transfer to Makumira for breakfast at Delicious Cafeteria
09:00
Campus Tour or Informal Traditional Jam with Tanzanians in
MRU
11:00
Chai break at GLOMUS tent Block II
11:45
Official Opening Session Welcome from Makumira
Dancers in LW09
Hosts: Joseph Parsalaw, Vice-Chancellor, Tumaini
University Makumira and Tuomas Auvinen, Dean,
Sibelius Academy, Finland
12:00 (optional Call to Prayer)
13:00
14:00
Keynote: Sylvia Nannyonga-Tamusuza, Uganda “The
role of archives in Africa as intersection of culture(s)” in
LW09
Presentation: Keld Hosbond, Denmark “Ideological and
educational underpinnings of the GLOMUS vision”
15:00
16:00
Break
16:30
GLOMUS orchestra (Pär Moberg & Jens Christian
Chappe Jensen) Block IV outside &
Global choir (Eva Kunda, Hezron Mashauri) in MRU
18:00
transfer to Danish Centre and then to dinner
19:00
Official Opening Dinner at Rivertrees Inn
Traditional dance presentation by Makumira Music
Department
21:30
transfer to accommodation
5
12 Jan (Saturday)
Coordination meetings at breakfast (steering, local, presentation committees)
09:00 Regional Presentation: West Africa (Ghana & Mali) Senyo Adzei,
Awo Mana Asiedu in LW09
10:00 Regional Presentation: South Africa (South Africa and
Mozambique) Joao Cabral Armando, Dadivo Combane
11:00
11:45 Jacqueline Henninger, US/Tanzania “Multicultural Music Education
Research: The Teaching and Learning of Cultural Differences"
12:30 Presentation: Seth Sululu, Tanzania “Tanzanian Traditional
Children’s Songs, Games and Dances””
13:15
14:30 Small group workshops:
Arab: MRL (Issam Rafea, Moslem Rahal)
Tanzania Dance: sports field (Kasheshi Makena, Melkiades
Banyanka)
Mali/Blues: MRU (Moussa Diallo)
Nordic: the trees (Pär Moberg, Vilma Timonen)
South Africa jazz: DW (Darryl Andrews, Joao Cabral Armando)
Theater: BDM (Ville Sandqvist, Heidi Syrjäkari)
16:00
Break
16:30 GLOMUS orchestra & Global choir
18:00 transfer to rooms and then return for dinner
19:00
Dinner at Makumira catered by Smokin’ Ray’s BBQ (Mexican)
Choir/Dance presentations by Children & Youth
Yubilate!, Makumira outreach, Stubbs’ Family
13 Jan (Sunday)
Camp coordination meetings at breakfast
09:00 free time or attend church services
Arusha Community Church (International non-denominational in English),
Arusha Lutheran Town Church (English), Arusha Anglican Church (English),
Makumira Chapel, Usa River Lutheran, Catholic, Assemblies of God (all Swahili)
10:00
11:00
GLOMUS Network Meeting & North-South-South Meeting (all teachers &
managers) in LW09, Tuovi Martinsen facilitator
Bilateral Partner Meetings (individual meetings during the day, sharing
wishes, dreams, and challenges)
12:00 Maasai Lunch a little bit out in the bush, learning about Maasai
traditions
Presentations by Maasai (Loruvani Choir and Oldonyo Sambu
bomas)
18:00
19:00
transfer to rooms and then to dinner
Dinner at Makumira catered by Mama Megan
20:00 Informal Jam Session at Makumira
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14 Jan (Monday)
09:00 Regional Presentations: Nordic (Finland, Denmark, Sweden)
11:00
11:45 Presentation: Pär Moberg, Sweden; “The academisation of a
musical tradition—acceptance and resistance”
12:30 Presentation: Senyo Adzei, Ghana “Developing contemporary
idioms from traditional musical resources: Creative
ethnomusicology—the case of Zigi musical ensemble”
13:15
14:30 Small group sessions (MRU, MRL, BDM, DW, trees, fields)
16:00 Break
18:00
19:00
Dinner at Makumira catered by Smokin’ Ray’s BBQ (Texas BBQ)
GLOMUS traditional dances from various countries
21:30
transfer to accommodation
15 Jan (Tuesday)
09:15 Regional Presentation: Middle East (Egypt, Syria, Palestine)
Mohammed Awad, Amal Elshahed
10:15 free time for networking/jamming
11:00
11:45 Presentation: Awo Asiedu, Ghana “Theatre and arts in Ghana”
Dadivo Jose Combane, Mozambique “The role of theatre education in
Mozambique”
12:30 Presentation: Ahmad Sarmast, Afghanistan “The challenges and
possibilities for music education in a conflict area”
13:15
16:00
Break
18:00
19:00
Dinner at Via Via, Arusha
GLOMUS Jam Session (public venue)
21:30 & 22:30 transfer to accommodation
7
16 Jan (Wednesday)
Safari to Arusha National Park (animals, Mt. Meru, Mt. Kilimanjaro views)
Box lunch at Arusha National Park (Big Momela Lake)
16:00 GLOMAS Auditions in BDM
16:30
19:00
transfer to rooms, free time and then to dinner
Dinner at Makumira catered by Khan’s BBQ (Chicken)
20:00 Informal Jam Session at Makumira
17 Jan (Thursday)
09:15 Regional Presentation: Malaysia Ramona Mohd Tahir
10:00 Regional Presentation: Tanzania Adil Dabo, Catherine Mushi
11:00
11:45 Regional Presentation: Afghanistan
12:30 free time for networking/jamming
13:15
16:00
Break
18:00
19:00
Dinner at Yaz’s (Njiro Complex), Arusha
GLOMUS Jam Session (public)
21:30 & 22:30 transfer to accommodation
18 Jan (Friday)
09:15 Presentation: Inhwa So, Korea/ILAM “Bringing International
Library of African Music into the 21st century”
10:15 TBA
11:00
11:45 Closing Presentation: Randall Stubbs, Tanzania/US “NorthSouth-South—Where do we go from here?” 12:00 (optional Call to
Prayer)
12:30 Closing Session: Host: Thomas Winther, Rector, Royal Academy
of Music Aarhaus, Denmark
13:15
16:00
Break
18:00
Transfer to Gateway Lodge for dinner and free evening
8
19 Jan (Saturday)
09:30 Sound Check, informal rehearsals as needed at Makumira Assembly
Hall
GLOMUS participant interviews
11:00
11:45 Run-Through/Walk-Through on Stage
13:30
15:30 GLOMUS CONCERT at Assembly Hall
18:00
19:00 Closing Dinner at Arumeru Hotel
Short closing performance by Zanzibar Taarab group
22:00 transfer to accommodation
20 Jan (Sunday)
09:00 transfer to Arusha
09:30 visit Cultural Heritage Centre (or worship services)
12:00
Lunch in Arusha (Masai Café)
13:00 visit Maasai Market (tourist shopping)
15:00
19:00
Return to prepare for departure
Dinner for remaining GLOMUS participants
9
ACKNOWLEDGEMENTS
Steering Committee Members:
Tuovi Martinsen, Sibelius Academy, University of the Arts Helsinki,
Finland
Keld Hosbond, Royal Academy of Music, Aarhaus/Aalborg, Denmark
Eva Saether, Malmö Academy of Music, Lund University, Sweden
Randall Stubbs, Tumaini University Makumira, Tanzania (host
institution)
Program Committee Members
Eva Saether, Malmö Academy of Music, Lund University, Sweden
Astrid Elbek, Royal Academy of Music, Aarhaus/Aalborg, Denmark
Vilma Timonen, Sibelius Academy, University of the Arts Helsinki,
Finland
Randall Stubbs, Tumaini University Makumira, Tanzania
Local Committee Members
Randall Stubbs, Local Chairman
(accommodation, meals, campus projects)
Eliakim Lekoringo (finances, campus issues)
Hezron Mashauri (transport, visas, Maasai experience)
Leena Lampinen (publicity, meals)
Michael Neymeyer (program)
Seth Sululu (program, GLOMUS shop)
John Jutta (technical)
Melkiades Banyanka (campus projects)
Adelina Ndumbaro (hospitality)
Excel Haonga (equipment)
Additional Acknowledgements
Hanneleen Pihlak, Estonian Academy of Music & Theatre, Estonia
(web master)
Anni Wessman, Sibelius Academy, University of the Arts Helsinki
(logistics: flights, insurance, visas)
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GLOMUS Participants 2013
Afghanistan: Afghanistan National Institute of Music: Khial Mohd, Ali
Esmahilzada, Samimullah Rafiq Zada
Denmark: Royal Academy of Music Aarhaus/Aalborg: Thomas Winther, Keld
Hosbond, Astrid Elbek, Camilla Lautrup, Jens Chr. Jensen, Moussa
Diallo, Anne Hulthin Andersen, Jan Kruzliak, Krishna Nagaraja, LottaMaria Pitkänen, Valeria Conte
Egypt: Cairo Conservatory: Amal Elshahed
Estonia: Estonian Academy of Music and Theatre: Hanneleen Pihlak
Finland: University of Arts Helsinki:
Sibelius Academy: Tuomas Auvinen, Tuovi Martinsen, Anni Wessman,
Vilma Timonen, Nathan Thomson, Ella Isotalo, Janne Halonen, Lauri
Salokoski, Manuel Sabaté Benach, Marouf Majidi, Menard Mponda,
Sandra Melo, Senni Valtonen
Theatre Academy Helsinki: Jonna Sundberg, Ville Sandqvist, Heidi
Syrjäkari
Ghana: University of Ghana: Senyo Adzei, Awo Mana Asiedu, Edwin Brown
University of Cape Coast: Mawuyram Adjahoe, Amos Asare Darkwa
Malaysia: Universiti Teknologi, Mara: Ramona Mohd Tahir, Nur Sharmine
Mohd Bakri
Mali: Conservatoire des arts et métiers multimedia: Daouda Dao,
Souleymane Dembélé, Baba Sacko
Mozambique: Escola de Comunicacao e Artes – Universidade Eduardo
Mondlane: Joao Cabral Armando, Dadivo Combane, Micas Silambo
Palestine: Edward Said National Conservatory of Music: Mohammed Awad,
Jaber Jubran
South Africa: University of Cape Town: Darryl Andrews, Benjamin Jephta
Sweden: Malmö Academy of Music, Lund University: Eva Saether, Pär
Moberg, Eva Kunda Neidek, Knut Olle Ekman, Juan Passo
Syria: The Higher Institute of Music in Damascus: Issam Rafea, Moslem Rahal
Tanzania: Tumaini University Makumira: Randall Stubbs, Carol Stubbs,
Hezron Mashauri, Leena Lampinen, Michael Neymeyer, Seth Sululu,
Adelina Ndumbaro, Catherine Mushi, Deogratias Mitima, Epsilon Shila,
Excel Haonga, John Jutta, Kasheshi Makena, Megan Stubbs, Melkiades
Banyanka, Sekela Kalikene
Dhow Countries Music Academy—Zanzibar: Adil Dabo
Umoja Music School and Community Arts Trust: Liza Barley
United States: Butler School of Music, University of Texas: Jacqueline
Henninger
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GLOMUS Guests:
Denmark: Centre for Culture and Development: Vibeke Munk Petersen
South Korea: National Gugak Center and International Library of African Music,
South Africa (Guest Researcher): Ihnwa So
Uganda: Makerere University: Sylvia Nannyonga-Tamusuza
Department of Music Performers & Helpers
Teachers: Carol Stubbs, Danielle Williams, David Seng’enge, Hezron Mashauri,
Jacque Henninger, Leena Lampinen, Michael Neymeyer, Randy Stubbs, Seth
Sululu
Alumni: Conrad Nkuba, John Jutta, Kasheshi Makena, Melkiades Banyanka,
Meraby Kaimukilwa, Taifa Liwewa, Terevaili Ayo
Third Year Students: Adelina Ndumbaro, Augustine Thomas, Catherine Mushi,
Deogratias Mitima, Edward Samson, Erick Faustin, Gabriel Olodi, Kelvin
Mdadila, Paul Mahiba, Revocatus Lutera, Seth Lulamaze, Sophia Kuyenga
Second Year Students: Angela Kiraule, Anna Mwakasege, Audax Mbuza, Denis
Wasonga, Emmanuel Ndale, Emmanuel Mtui, Eunice Mungereza, Excel
Haonga, Ezron Mbogambi, James Mbazi, Jane Kalyalya, John Makene,
Laurent Keegan, Manyenye Maganiko, Sekela Kalikene
First Year Students: Epsilon Shila, Andrea Benjamin, Castory Fabian, Edson
Kazungu, Megan Stubbs, Muyonga Mbuki, Stephen Sinyangwe
Exchange Students: Ella Isotalo (music-Finland), Lisa Grasy (theology-Germany)
Further Acknowledgements:
Tumaini University Makumira administration & staff
Penina Makubi (accommodation, safari, GLOMUS shop)
Mark “Stiggy” Stigwood (additional instruments)
Alliance Franco-Tanzania (additional sound, lights)
Juliana Isawafo, Aisha Issa, Joanitha Mkunga, Marissa Stubbs, Nathan Stubbs
(GLOMUS bags, special meals, big helpers and youth performers)
Emmanuel Mtui (graphic design)
Emmanuel Ndale (printing, dyeing)
Daris Hale, Jennifer Bernard (special music, big helpers)
Carol Stubbs (GLOMUS bags, special meals)
Ramon Henninger (campus projects, catering)
Texas State University (GLOMUS water bottles, lanyards, Makumira Music
banner)
12
Tumaini University Makumira, Campus Map
Thank You
GLOMUS
SPONSORS:
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Keynote Presentation: The Role of Archives in Africa as
Intersections of Culture(s)
Dr. Sylvia Nannyonga-Tamusuza
Associate Professor of Music, Makerere University, Uganda
http://musicarchive.mak.ac.ug; [email protected]
Inside the Makerere University Klaus Wachsmann Music
Archive
Introduction


“Are music archives still relevant today?
Does one still need to go to this dungeon, the “dark place”, where
archives are traditionally kept, when this music is available around us
through the media?
Music archives are still relevant
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
Cultural Role

Social Role

Educational role

Creativity role
CULTURE IS:
“A set of publicly shared codes or repertoires, building blocks that structure
people’s ability to think and to share ideas” (Eliasoph and Lichterman 2003:
735)
What is an archive?


A Repository for records of historical value, which may not be in
current use.
A record can be: o
A physical textual document like a letter
o A visual document like a photograph o An audio document like a tape recording
o A digital document like an email




Building where public records and/or historical documents are
arranged and kept
container in which physical documents are kept (e.g., filing cabinet or
box
A digital location on a computer: such as a place in a computer
directory
The agency or organization responsible for collecting and storing the
documents considered to be of value
What is an archive?

Similar to libraries and museums, as all three institutions organize
and provide access to information. However, they differ in that:
o Libraries focus on published information like books and
periodicals
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o Museums focus on artifacts, or physical objects
o Archives generally focus on unpublished original records
Some Music Archives in Africa



The International Centre for African Music & Dance at the University
of Ghana
International Library of African Music
o largest archive of African music in sub Saharan Africa ILAM
On-line Sound Archive
Sound Archive of the Royal Museum for Central Africa: has
collections of sound recordings from Central Africa, with focus on
Congo and Rwanda.
Klaus Wachsmann:

ethnomusicologist, teacher, music
collector, researcher, first curator of
the Uganda Museum

Has the broadest collection on
Ugandan music (1949, 1950 and
1954): 1575 items from 26 major
ethnic groups (out of 40 major
groups)
Makerere University Klaus Wachsmann
Music Archive (MAKWMA)
Receiving Wachsmann’s Collection from
Dr. Fargion, Curator traditional Music, BLSA
17
Archival Model
Reconstructing Oral and Aural Culture
“Our books are in our heads. Each time a musician dies in Africa, a whole
library dies with him or her” (Mbope Louis 1953).
Sylvia Receiving the Nanga from Philipp, Wachsmann’s son
18
Playing of Nanga
Audio Samples:
Gganga Alula: Nanga from Buganda
MU KKUBO ERY’OMUSALABA by
KYAGAMBIDDWA (1978)
MU KKUBO ERY’OMUSALABA by
TAMUSUZA (1992)
19
GLOMUS
Ideological and Educational Underpinnings of the
GLOMUS Vision
Keld Hosbond
Head of International Relations, Royal Academy of Music, Aarhus/Aalborg - Denmark
About...
1. Globalization and intercultural competences
2. Culture and Development
3. Why GLOMUS?
4. GLOMUS camps – very brief history
5. Expectations for this camp
6. (Global Music Master, GLOMAS)
”Globalization means both greater competition and greater diversity. But it
is no longer enough to simply accept differences. We must go further and
actively appreciate the differences because only then will the door open to
new ways of thinking, new solutions and opportunities. We must change the
way we see the world before we can change our habits and behavior - and
achieve new and better results.” (Jannick B Pedersen,2011)
20
Globalization
Your first image?
Definition - Anthony Giddens:
“the intensification of worldwide social relations which link distant localities
in such a way that local happenings are shaped by events occurring many
miles away and vice versa”
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Globalization
Dimensions: 




Economical Political
Ecological/environmental
Cultural
+ Educational
Modernity
3 main dynamics:
 Time/space differentiation
 Disembedding of social systems
 High level of Self-reflexitivity
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Globalization
Consequences? Worst case scenario:  Uniformity  Risk society  Climate changes Best case scenario:  Diversity  Open and inspirational flow of music, art, cultures
 A better world
New Cultures, Development
Modernity
Tradition
Culture and Development
UNESCO Declaration on Cultural Diversity
Culture is the set of distinctive spiritual, material, intellectual and emotional
features of society encompassing in addition to art and literature (“cultural
expression”), lifestyles, value systems, traditions and beliefs.
Culture as an agent for social change goes hand in hand with improving
people’s well- being through aesthetic expression
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The power of art and culture in development
The cultural and creative industries as a key area of economic growth
globally in the years to come.
The significance and potential of culture in the process of development is,
however, far greater, deeper and intricate.
As the soil, however rich it may be, cannot be productive without cultivation, so
the mind without culture can never produce good fruit. (Seneca)
The Power of Culture
The ability to empower, mobilise, open minds and communicate.
Art can be the infrastructure that supports alternatives. It can challenge
people to see things in a new way.
Artists are often deeply involved in many movements, struggles, revolutions
and change processes.
Examples (South Africa, Estonia, Arab Spring, Zimbabwe..)
Why GLOMUS?
An attempt to keep educational focus on diversity in a changing and
challenging globalized context
Insistence on open-minded thinking Global mindset:
North-South-East-West
24
GLOMUS vision
 To create a sustainable platform for cross‐ cultural
activities
 To cherish and support diversity in music performance and
education
 To make cultures meet: events, exchanges (students,
teachers, staff), workshops, online platform, educational
development
 To increase the level and quality of Global Music in the
Higher Music Education
 To support the development of GLOMAS (Global Music
Master Programme)
 To support research in the field of Global Music
GLOMUS CAMPS
Why?  Personal globalization! (network)
 Mutual empowerment  Walk the talk
25
SC
P 09
August 09 in Mozambique (Ilha de Mozambique)
35 participants (teachers/students) from:





Mozambique South Africa Ghana
Mali
Syria




Finland
Norway
Sweden
Denmark
26
27
GLOMUS CAMP 2011
CAPE COAST / ACCRA GHANA APRIL 2011
WHAT ?
Two Strands:
1. Music Camp
 Intercultural music making
 Presentation of local tradition (West African drumming)
 Regional Workshops (Arab, African, American, Nordic)
 GLOMUS orchestra
 Two concerts in Cape Coast and Accra
2. Conference and networking meeting
 Use of distance learning and communication tools
 Intercultural Approaches in Higher Music Education
 Development of the GLOMUS network: potentials,
expectations, obstacles, finances, long term development
objectives
28
Evaluation of GLOMUS CAMP 11
Based on participant survey and interviews (Dr. Eva Sæther, Malmö
Academy of Music, University of Lund and Prof. David Hebert, Bergen
University College)

“All involved, students, professors, academic leaders, musicians, talk
about the transforming effect of the camp, thanks to the high level of
the musicians, and the nature of the musical meetings”

The south-south dimension was important to the participants from
south. One of the African professors was inspired by the Arab regional
presentation, and got new ideas for his compositions. The Arab speaking
participants from Palestine and Syria had a unique opportunity to meet
due to the camp, and did not waste a minute to play together. Or discuss
the political situation in their part of the world, through music. As one of
them expressed it. “Music is learning”.

Discord, an essential part of collaborative learning, has been an
important part of the experiences. For example the Danish student who
ran an improvisation project with Ghanaian master drummers had
problems in defining roles, was she a teacher or just a co-musician? And
the Ghanaian musicians had problems finding the musical meaning in
the initial stages.

African students highly enjoyed meeting each other’s traditions, and
playing together, cross regionally. To all of them, this was a new and
rewarding experience. It also reshaped their way of thinking of African
music, playing with musicians from all over the world. One of the
Ghanaian students expressed that he discovered that African music
cannot be claimed just “African”. It is all over, he said, and can be played
by everyone.
29
GLOMUS CAMP 2013
New elements:




Theater
Combined conference and music making
Only one concert
More free space for networking and leisure
Expectations for GLOMUS CAMP ‘13
 A lot of nice music
 Cross disciplinary meetings Theatre- Music
 A lot of interesting discussions Personal friendships Pool
of good ideas for future activities
 Increase of intercultural activities at our academies
GLOMUS activities
To be discussed during GLOMUS networking meeting
You decide!
30
Screenshot from the GLOMAS website (www.GLOMAS.net)
GLOMAS
”Global Music Master – a Nordic Joint Study Programme”
Partners:  Sibelius Academy, Helsinki, Finland
 Musikkhögskolan i Malmö, Sweden
 Royal Academy of Music, Aarhus, Denmark
31
GLOMAS – content

Individual specialisation possibilities (performance, music education,
research)

”Bi-musical” approach 
Fields studies in South - GLOMUS partners

Projects in North 
Intensive Seminars in Partner Academies

E-learning /Portfolio 
Entrepreneurial approach
The “perfect”
S student

High-level musician

Social responsible

Cultural open-minded and tolerant

Self-reflective

Research oriented

Pedagogical and social skills

Cross-sectoral insight (including private sector and civil society
cooperation)

Knowledge of the cultural diversity and cultural interaction
32
Regional Presentation: West Africa (Ghana & Mali)
Senyo Adzei, Awo Mana Asiedu
University of Ghana - School of Performing Arts (Accra) Baba Sacko,
Conservatoire des Arts et Métiers Multimédias (Bamako, Mali)
Live music demonstration of instruments and genres,
two short samples below:
http://www.youtube.com/watch?v=cVrBD7pZf00
http://www.youtube.com/watch?v=u0OQwm_WvgU
(also check www.glomus.net for additional video)
Regional Presentation: South Africa (South Africa and
Mozambique)
Joao Cabral Armando, Dadivo Combane
Eduardo Mondlane University (Maputo, Mozambique)
Live music demonstration of instruments and genres
(check www.glomus.net for video)
33
Multicultural Music Education Research: The Teaching and
Learning of Cultural Differences
Dr. Jacqueline Henninger
Assistant Professor, Music and Human Learning
The University of Texas at Austin
Fulbright Scholar, Sub-Saharan Africa, 2012-2013
Tumaini University Makumira, Usa River, Tanzania
As a Fulbright Scholar from America, I’ve had the good fortune of living with,
teaching, performing, and learning from so many people here in Tanzania
and at Tumaini University Makumira (TUMA). Needless to say, this has
affected the way I think about multicultural and world music. I have always
valued the inclusion of music from different countries into music classrooms.
I teach a graduate course on this very topic at The University of Texas at
Austin and I have given presentations on this issue at state and national
conferences and during teacher workshops across the state of Texas.
However, due to the rich experiences my family and I have shared during our
four months in Tanzania, my passion for this topic has only increased.
I would like to begin with a brief discussion of people’s views on multicultural
music education. There are a couple different views on what multicultural
education is. Sometimes multicultural education may refer to teaching
culturally diverse learners or to teaching music of different cultures. For the
purposes of today’s discussion, we will focus on the latter of the two.
Whether one is teaching in a general music classroom, instrumental music
classroom, or on the university level, one should be cognizant of the
approaches one decides to take when sharing music of other cultures with a
group of learners. By the end of this session, I hope you leave with a sense of
how multicultural lessons can be effectively taught in different settings and
that you will increase your understanding of the value of these experiences
for you and your students. Let’s begin this discussion with a focus on the
topic of diversity.
In the majority of professional and social settings, it is quite apparent how
much more diverse our society is becoming. One reason is because of
increased globalization, which is enabling people from different countries
and of different cultural backgrounds to live, work, and play together.
Another reason has to do with the ways in which the demographics of many
34
countries are changing. For instance, the demographics of the United States
is rapidly changing (see Figure 1).
PERCENT DISTRIBUTION BY RACE,
1990, 2000, 2010, and 2050
80
60
HISPANIC
WHITE
BLACK
ASIAN
40
20
0
1990
2000
2010
2050
Figure 1. Demographics of the United States of America from 1990 - 2050
The United States is comprised of approximately 150 different ethnic
groups. Data from 1999 (US Bureau of the Census, Current Population
Reports) reported that in 1990, the country was predominantly white
(75.6%) with the fewest number of Asians (2.8) and Hispanics (9.0). The US
has seen a recent increase in Hispanic and Asian populations. According to
the census, additional growth is expected into 2050 based on three
components of change: Fertility, life expectancy, and net immigration.
Over the next several decades, marked shifts in population will occur with
whites declining (due to the aforementioned components of change) and
Hispanics increasing. For instance, by 2050, it is projected that the
population will be composed of 52.8% whites and 24.5% Hispanics, whereas
non-white ethnic groups will make up 47.2% of society.
Changes in the demographics of our country mean we will notice similar
changes in our classrooms. With more students representing various ethnic
groups, they must learn to work together and respect one another. This is
why it is so important for us to incorporate multicultural elements into our
music lessons and ensemble rehearsals. So, one may ask, are these issues
also present in Tanzania and Tanzanian schools?
35
Figure 2. Demographics of Tanzania from 1990 - 2012
According to a website for the projection of Tanzanian demographics
(http://www.scribd.com/doc/26307247/Tanzania-Population-Projections) ,
the following demographic figures were projected from 2012 – 2035: 99%
African, which represents 120-130 different ethnic groups; and 1% Other,
which is comprised of people representative of Arab, Asian, and European
ethnic groups.
Of the 120-130 different ethnic groups in Tanzania, such as Maasai, Sukuma,
Wagogo, Wameru, and Chagga, there are also four categories of Bantu
people (the largest makes up 95% of the country), Cushite, Nilo-Hamite and
San. On the island of Zanzibar, which is part of Tanzania, Arab, African, and
bi-racial people (Arab and African) are represented. Now, the population
projections for TZ are calculated in a slightly different manner than they are
for the US. Estimates for this country’s demographic and socio-economic
future trends explicitly take into account the effects of mortality, fertility,
internal and international migration and HIV/AIDS assumptions.
Unfortunately, there remains an excess of mortality due to AIDS, which can
result in lower life expectancy, higher infant mortality and death rates, lower
population and growth rates, and changes in the distribution of population
by age and sex than would otherwise be expected. From 2003-2025, the
variables affecting population projections are Infant Mortality Rate (IMR),
UnderFive Mortality Rate (U5MR), Crude Death Rate (CDR) and Life
expectancy at birth.
Because of the aforementioned variables, the demographics of Tanzania are
also changing (more ethnic groups and increased population). Therefore,
musicians in this country should also have an increased awareness of the
importance of teaching and learning the music of different cultures.
36
So, if we acknowledge that demographics are changing in various parts of
the world and we agree that we should provide multicultural experiences for
our students, what are the benefits of such experiences? What are the
various ways in which we may affect children’s lives through the use of
multicultural music?
Students demonstrate highest levels of receptivity and flexibility, also
referred to in literature as “openearedness,” during elementary years. This
“openearedness” declines during early adolescence, but rises again between
adolescence and early adulthood (LeBlanc, et al., 1996). Therefore, sharing
music of other cultures with students in these age groups could have the
biggest effect on their indicated preference levels and overall
responsiveness. Research has also shown that elementary students indicate
higher levels of preference for music of different cultures when they have
direct experiences with the music and discuss cultural issues. Isn’t this what
we want for students? Don’t we want them to be more open and accepting
of things that are different? If this is something you value, it should be
something you try to teach to students. Multiculturalism can facilitate the
accomplishment of this goal.
Respect, tolerance, and acceptance are behaviors and traits that can be
taught through the use of multicultural lessons, especially for those who are
members of other cultural groups that may not be represented (Shehan,
1985). According to Abril (2006a), in order for these attitudinal changes to
occur, students must have opportunities to learn and talk about the culture
being introduced. Abril refers to this as the sociocultural portion of a lesson,
which will be discussed in greater detail later in this presentation.
A great deal of research has been conducted in the areas of preferences and
attitudes as it pertains to multicultural music education. Fung (1994)
presented undergraduate non-music majors with music excerpts from eight
different cultures to measure preferences for world music and attitudes
toward multiculturalism. Those with higher preference levels indicated
more positive attitudes toward multiculturalism. Through exposure to
different forms of world music, students are exposed to a larger repertoire of
music for performing and listening experiences. World music experiences
can also positively affect children’s knowledge of other cultures as well as
increase the knowledge they possess regarding their own.
Randall (2008) discussed the student benefits about non-traditional
performing ensembles. One of those benefits includes the opportunity to
learn about other cultures in the context of alternative/nontraditional
performing ensembles, such as steel pan or fiddling. Ensembles such as
theses provide students with opportunities to learn about other cultures and
37
their music styles and traditions. Depending on the cultural background of a
student, nontraditional ensembles may also provide students with
opportunities to learn about one’s own culture. For example, there was a
student in a mariachi group who finally had a chance to learn more about her
Latino culture through the experiences she was afforded as a member of
that ensemble.
It is quite apparent that it is important to provide students, young and old,
with opportunities to study music of other cultures. Multicultural and world
music enriches individuals’ lives in several ways. Therefore, one should
consider the issue of teaching lessons such as these so they can be executed
in the most effective manner.
For multicultural lessons to be most effective, Abril (2006a) asserts that they
should address music concepts and sociocultural contexts. Music concepts
refer to the formal elements of music that are used for students to acquire
knowledge, understanding, and skill. Sociocultural context refers to the
social and cultural context of a song or piece. Lessons that incorporate both
of these elements will have the greatest impact on the student’s music
learning experience, which increases the likelihood of students having
positive experiences with music representative of different cultures.
Belz (2006) wrote an article on multicultural music education, which was a
thorough description of an undergraduate course offering, the students’
experiences in the class, and the components one should include in a
multicultural lesson. According to Belz, to make a multicultural lesson most
effective, one should employ the expertise of a cultural insider. I have
personally seen the benefits of this approach when introducing Tuvan
Throat Singing to graduate students at The University of Texas at Austin and
when learning about the music and culture of the Wagogo as a Fulbright
Scholar at Tumaini University Makumira. Within these lessons, there was an
emphasis on culture and the use of high-quality visual and audio examples.
Belz (2006) also encouraged the use of “authenticity.” One might wonder,
however, to what it is that this term is referring. Can true authenticity be
achieved? Should it be achieved? This is an important issue within the world
of multicultural education that should be explored further.
Teicher (1997) found that when undergraduate elementary education majors
were given opportunities to teach multicultural lessons to their peers, their
attitudes toward multicultural music teaching were positively affected. So,
in structuring undergraduate programs, one should consider active
engagement and peer teaching to make the experience more valuable.
38
So, given all the points raised by different scholars regarding the teaching
and learning of multicultural and world music, can one effectively
incorporate lessons such as these into one’s teaching in the schools with
“real” students? Yes, it can be done and it can be done in an excellent
manner.
In our teacher education program at The University of Texas at Austin, we
implement these approaches in our university classes and we encourage the
transfer of these principles to lessons taught in the schools whenever
possible. For example, multicultural lessons are included into the student
teaching experiences for undergraduate students and graduate students are
provided with many peer-teaching opportunities. Similar experiences occur
on the Tumaini University Makumira campus, which is why I would like to
share some examples of these lessons with you to illustrate the application
of these techniques in the primary, secondary, and university music
classrooms.
The first clip we’re going to view is one that illustrates the incorporation of
the sociocultural context into an instrumental music setting. This is a
wonderful lesson taught a few years ago by one of our student teachers at
The University of Texas at Austin. She shared with the students at a local
high school a lesson on Classical Thai music. To provide you with a bit of
background information, there was a foreign exchange student who was
extremely shy. The student teacher talked to the student to help her feel
more comfortable. During these conversations, the student shared some
information regarding her cultural and musical background with our student
teacher. Our student teacher decided to use this as an opportunity to
introduce new music to the orchestra students.
In this clip, you’ll see the student teacher introducing a cultural insider to the
students. The cultural insider, again a student, is going to describe a string
instrument that is used to perform Classical Thai Music. The instrument is a
Thai Saw Duang. Later in the lesson, the cultural insider actually performed
the instrument for her peers. It ended up being a wonderful experience for
her, her peers, and our student teacher.
By the way, our student teacher took it upon herself to expand on this lesson
by providing the students with additional listening and performance
opportunities using music from Thai. For example, she arranged a
traditional folk piece based on a theme from the piece that was introduced
by the foreign exchange student. Music concepts were integrated into later
portions of her lesson. An important point to keep in mind when selecting
music for your classrooms, which this example illustrates beautifully, is that
often times your students know a great deal about music other than the
39
music you are covering in your class. Why not acknowledge this when
planning lessons that are multicultural in nature?
The second clip represents a wonderful lesson taught by another terrific
student teacher from The University of Texas at Austin. This individual
shared with middle school band students Garifuna Music from Central
America. He provided a brief description of the cultural history and the
significance of the music to the people of Balize, Guatemala, and Honduras.
Following that, he had the students clap rhythms extracted from music
excerpts and then they had fun playing these rhythms on their instruments
with the use of a call and response approach. Again, greater focus is placed
on music concepts within this portion of his multicultural lesson. In this clip,
the students were able to play with a recording of Garifuna music, again
employing a call and response approach. By the end of the experience, the
students’ excitement about the experience is quite apparent.
This second example represents an easy way to incorporate music of
another culture into a class. This lesson illustrated a wonderful way to
address syncopation and style in an interesting and engaging way. Students
played with an authentic recording and performed rhythms they may not be
able to read. Following a lesson such as this could provide students with the
skills that would them to transfer these rhythms to a piece in which similar
rhythmic patterns are encountered.
We will now view a few clips from experiences at The University of Texas at
Austin and Tumaini University Makumira that illustrate the concept and
importance of including cultural insiders in the teaching and learning of
music representative of a different culture. The Center for Research of
Eastern European and Eurasian Studies (CREES) at The University of Texas
at Austin invited an ensemble of Tuvan Throat Singers, Alash, to visit the
Austin campus and to share their music with students in various
departments, including the School of Music.
Alash is an ensemble of master throat singers from Tuva, a tiny republic in
the heart of Central Asia. According to their website
(http://www.alashensemble.com/), the ancient art of throat singing
developed among the nomadic herdsmen of this region. Alash remains
grounded in this tradition while expanding its musical vocabulary with new
ideas from the West. This ensemble gave presentations to my graduate
level multicultural class twice and to other members of The University of
Texas at Austin, School of Music community during the second of those two
visits. The experience was incredible and memorable. Having these expert
throat singers from Tuva on our campus in the United States provided
graduate students, undergraduate students and music faculty with a
40
culturally and musically enriching experience that remained the topic of
many conversations for several weeks thereafter.
At Tumaini University Makumira, we were fortunate to have three members
of the Wagogo ethnic group visit our campus and provide our faculty and
students with informative and enjoyable presentations regarding their music
and culture. The instruments they performed during a portion of their
presentation were the zeze (stringed instrument with a gourd part covered
in animal skin) and the thumb mbira. They shared with the class information
regarding their cultural norms and beliefs, their songs, their instruments,
and the concerns they have about retaining their music for future
generations.
The clips we will view are of two of the musicians playing the thumb mbira
and an elder gentleman who is playing the zeze. According to these
presenters, most of the Wagogo songs are used to teach cultural norms and
values, humility, and success. Songs are performed formally and informally.
One of the songs, Mnyamaye, opens with an instrumental introduction, goes
into a vocal portion, intensifies, and closes with the introductory
instrumental pattern. This presentation given by cultural insiders was a
wonderful learning experience for faculty and students of Tumaini University
Makumira.
Let us take a moment to revisit the issue of authenticity. Achieving absolute
authenticity (i.e., music performed by members of culture in a typical setting
with actual instruments and in original language) is extremely difficult to
achieve. Therefore, one should consider a “less rigid” approach to
authenticity. Steps that can be taken to achieve some authenticity are to
obtain the best music possible, consult with cultural insiders or experts on
the particular culture, and incorporate instruments that are as close as
possible to the authentic version.
Since authentic instrumentation will vary depending on one’s resources, it is
important to accept the fact that there may be times when you use nonauthentic instrumentation as a way to have students actively engaged with
the music that is representative of another culture.
We will now take a moment to view some clips of Tanzanian songs being
taught to older and younger learners. Within these clips, you will hear and
see examples of quality music experiences provided by cultural insiders
and/or experts and with instruments that are either authentic or as close to
possible as the authentic version.
The first clip is of a performance of the Wagogo song “Mtemi Yulya,
Herode.” This is a religious song about King Herode and the events that
occurred after the birth of Jesus Christ. The lyrics were provided, the
41
melodies were modeled, and the adult learners were fully engaged with
singing and accompanying movements. The instruments that were
included in this lesson were the kayamba, thumb mbira, drums (including
the djembe of West Africa), and the lulele (an animal horn).
The second clip is of our on-campus children’s choir, Yubilate. Yubilate is
comprised of Tanzanian and American children from the university
community and the local village. “Ganda, Ganda,” which is a portion of
Masewe dance from southern Tanzania, is functional and purposeful. This
particular dance serves to communicate and educate. The story that is being
told in the context of this dance is about a village that experienced a war.
The running steps demonstrated by the children indicate need for
individuals to run away from the stress of the experience, the acts of
fighting, and the period of famine after the war. The melody and
movements were modeled by the teachers, the young learners were fully
engaged with singing and accompanying movements, and some
extramusical concepts were employed (e.g., counting in Swahili to learn
steps). The drums that were performed were representative of the Wahaya
ethnic group, which are not the drums that would typically be used, but they
are what were available. These drums were not authentic for this dance, but
they were as close as one could get at the moment.
As we discussed at the beginning of this presentation, our world is changing,
our societies are changing and all of this means our student population in the
schools is also changing. Therefore, to meet the needs of our changing
student population, elements of our curriculum should also change. It is
important that we modify our curriculum in a way that acknowledges the
diversity of our students and exposes them to cultures other than their own.
Therefore, we as music educators need to change to meet the changing
needs of our countries and students. How do we accomplish this? At the
primary, secondary, and university levels, it is accomplished through lessons
such as those you observed during this presentation. Teachers should be
encouraged to transfer and apply these different approaches into their
classrooms when sharing music of another culture with their students.
SELECTED REFERENCES
Abril, C. R. (2006a). Learning outcomes of two approaches to multicultural
music education. International Journal of Music Education, 24, 30-42.
Abril, C. R. (2006b). Music that represents culture: Selecting music with
integrity. Music Educators Journal, 93, 38-45.
42
Belz, M. J. (2006). Opening the doors to diverse traditions of music making:
Multicultural music education at the university level. Music Educators
Journal, 92, 42-45.
Fung, C. V. (1994). Undergraduate nonmusic majors’ world music
preference and multicultural attitudes. Journal of Research in Music
Education, 42, 45-57.
LeBlanc, A., Sims, W.L., Siivola, C., & Obert, M. (1996). Music style
preferences of different age listeners. Journal of Research in Music
Education, 44, 49-59.
Randall, M. (2008). Out of the box: Nontraditional ensembles offer multiple
benefits to students. Teaching Music, 15, 30-34.
Shehan, P. K. (1985). Transfer of preference from taught to untaught pieces
of
non-western music genres. Journal of Research in Music Education, 33, 149158.
Teicher, J. M. (1997). Effect of multicultural music experience on preservice
elementary teachers’ attitudes. Journal of Research in Music Education, 45,
415-427.
U.S. Bureau of the Census. (1999). Population projections of the United
States by age, sex, race, and Hispanic origin: 1995 to 2050. Current
Population Reports, U.S. Department of Commerce, Economics and
Statistics Administration
43
Tanzanian Traditional Children Songs, Games and Dances
Seth Mesiaki Ole Sululu
Tumaini University Makumira, Usa River, TANZANIA
([email protected])
INTRODUCTION
Tanzania is the country in East Africa where Kiswahili, the national language,
unifies more than 120 ethnic groups that have varied diversified and rich
cultural traditions.
Many of these ethnic groups belong to the Bantu speaking people, the
largest group among the many ethnic groups in Africa. The Bantu ethnic
groups, share several common cultural traditions besides language,
including songs, dances, and other ways of life. The Wasambaa tribe of
northeastern Tanzania, for example, is a Bantu speaking people.
Maasai tribe is a Semi-Nilotic speaking people, whose language belongs to
the Nile-Saharan region of Africa. The Maasai ethnic groups are found in
several areas in East Africa, with the largest number in the Northern part of
44
Tanzania. Their language, songs and dances are different from those of the
Bantu speaking peoples.
Both Wasambaa and Maasai ethnic groups have children's songs, games and
dances reflecting their individual cultures in their unique ethnic languages.
Some are sung by children in Kiswahili, the national language.
Before her independence in 1961, Tanzania was a colony of both Germans
and British at different times. The colonialists introduced formal education
for children. Children were also taught songs and games from the Western
world, because the colonialists considered those to be superior in
comparison to the native music and games. These songs and games, taught
primarily in Kiswahili with a few in English, became part of their tradition.
Outside the classroom, children continued to participate in singing songs,
performing dances and playing games that belonged to their culture, passed
down through oral tradition from generation to generation.
It is my belief that these traditional songs, games and dances need to be reintroduced more in elementary music classrooms in Tanzania, as they are
beneficial to children’s development. The benefits include:
 Providing a natural learning mode that enables children to learn
music easily because their music is embedded in the cultures of tribes
in Tanzania;
 Reinforcing each child's cultural identity through song games.
 Keeping children active and healthy through physical responses to
the songs, games and dances.
 Helping to build friendships and relationships among the children
and cultivating them to become responsible for teamwork.
 Providing opportunity to develop the sense of leadership.
 Providing entertainment and enjoyment, keeping the minds of the
children more open, alive, and ready to receive other knowledge
being taught to them.
45
This presentation highlights some of the traditional children songs, games
and dances of the Maasai and Wasambaa ethnic groups of Tanzania that can
be used in elementary music classroom. There are children games that do
not involve singing or dancing; these are not featured in this paper. The
presentation limits itself to song games, by describing traditional activities
involved in the songs, including movements and rhythms. The background
information about the song games, the formation, rules of the games and
other performance practices are also provided. Various instruments,
languages, and cultural settings of these singing games for children will also
be highlighted.
BACKGROUND INFORMATION OF CHILDREN SINGING GAMES
Origins: culture and environment where the children are from and its
surroundings.
Essential elements: physical, mental and emotional activities where
patterns of lyrics, body movement, drama, spontaneous improvisation and
participation of all players.
Musical Characteristics: syncopation, call and response, scatting
(improvised singing using meaningless syllables), and dance movements
including jumps, leaps, turns splits, heavy use of hips, swing arms and
intricate foot movements.
Dance Formations: circles, couples, and lines in relation to the content.
Educational Applications: enhancing greater understanding of world
cultures through music




SHAMBAA CULTURE AND TRADITIONAL MUSIC
A Bantu ethnic group found in the Usambara Mountains of Tanga
region in northeastern Tanzania.
Agriculturalists, growing maize, beans, fruits, bananas, coffee, tea,
tobacco, a variety of vegetables, and sisal.
Music based on day-to-day activities, agriculture, nature, and
relationships.
Every event in life is accompanied by singing and often by dancing -individually, by gender, or many different groupings.
Instruments: Mostly drums, shakers and bells -- any other available
percussion options (tins with seeds or stones, clapping, etc).
Dancing movements: shaking of hips with the rhythm of the music.
Children songs: lullabies, songs with particular dances, and songs that
accompany games
MAASAI CULTURE AND TRADITIONAL MUSIC
46




There are two distinct groups of Maa-speaking people, those living a
semi nomadic, pastoral life raising cattle and goats, and those more
settled and practicing agriculture.
Matrilineal societies living in communities of extended families.
The Maasai society is structured around the age grade function of the
male: 1). boyhood; 2). warrior hood (having two sub divisions, junior
and senior warrior); and 3). elder hood.
Transitions between stages marked by celebration, ceremonies and
feasts.
Osingolio: Maasai term for song, singing, or a ceremony that incorporates
singing and dancing.
 All age groups: songs carry their cultural heritage, ritual, philosophy,
beliefs, and important historical events.
CHILDREN SONGS OF MAASAI
 Newborns: listening to lullabies sung by their mothers and others.
 Small children: participating in singing and dancing; learning songs,
plays and singing games from the grownups.
 Older children: Songs, singing and dancing separated according to
gender.
Specific analysis of two traditional Maasai children singing games:
 Serve different functions in different situations.
 The music is different melodically and rhythmically according to the
functions it plays.
47
Olorrumirrumi Loo Ngera Kunyinyi
(The Humming Voices of Small Children)
Text Translation:
This is the humming voice of young children.
It sounds, rrum, rrum (imitating the humming sound)
Background of the song:
 Short, repetitive song, with some spoken words.
 Sung by a group of young children in the evening.
 Words are spoken in rhythm by children and mother -- no soloist.
 Single line motive, range of 4 tones, 4/4 meter.
 The form of this song is ABC: A (Olorrumirrumi) B (loo Ngera kunyinyi)
C (Nejo rrum).
Singing Game Instruction:
 Children want to get milk or a promise for later.
 Children move from house to house, humming and stomping their
feet to announce their arrival.
 They repeatedly sing and speak the same words until they are
satisfied.
48
Nairo aya, Nairo Miya
(My fellow Lady I take, My fellow Lady You won’t)
Text Translation:
My fellow lady – I take, my fellow lady – you won’t (x2)
Lo! This (lady) one is pretty, my fellow lady you won’t
Lo! This (lady) one is pretty, yes! But you won’t take
Lo! This other (lady) one is pretty, yes! But you won’t get
My fellow lady – I take, my fellow lady - you won’t.
Background the Song:
 Sung by older Maasai children, commonly girls, although boys are
always welcomed while playing this game.
 Call and response, with a leader singing first and other children
responding.
 Soloist repeats the same melody, with variations in melody and text.
 Catcher sings the solo part, asking her opponent, "the protector", to
allow her to take one of her members - Nairo aya?- (my fellow lady I
take one).
49




Protector and her group respond - Nairo miya - (my fellow lady you
won’t).
This exchange is followed by the other parts as shown in the music.
Meter is compound time of 6/8, 5 tones.
Melodic phrases are ABCB, then AB: A (Nairo aya), B (Nairo Miya), C
(Oi Sidai Ena), B (Sidai Nemitum).
 Usually played inside the boma, during the late evening hours or
under moonlight.
 Roles: Catcher, Protector, and rest of the children.
 Protector is the "head" of the line of children.
 Children hold each other's clothes in a chain-like form.
 Catcher tries to catch the children to form her/his own group;
jumping here and there to steal one of the children.
 Protector jumps in the same direction to stay between the Catcher
and her children.
 Catcher will be able to catch a child who goes in a wrong direction
from the Protector.
 This goes on until the protector is left alone.
FOUR TRADITIONAL SHAMBAA CHILDREN SINGING GAMES
50
Text:
Sheka gondo tietee zua uko Maghamba jaaka. Swee kavumo swee
Baba mtoa nange na kaghana
Literal Translation:
Sheka gondo (a lizard) bring us the sun. It is shining in Maghamba.
Swee sounding swee. The father is taking out the gourd and smoking
tobacco.
Background of the Song
 Lizards, and children, are tired of the cold and sunless days of winter.
 When the sun appears, lizards and other creatures come out of hiding
and lay on the rocks to enjoy the sunshine and warmth.
 Children are also happy to see sunshine again, so they sing, telling
the Lizard to bring to them the sun that is shining in other places.
 The children imitate the Lizard's sound, swee, when singing.
 Father pulling tobacco from the gourd and smoking represents
people enjoying life and feeling good about the sunshine.
 Children also sing this song and dance at night when there is a bright
moon.
51
Game Instruction:
 Children gather in a circle or semi-circle.
 No soloist -- one begins and all join in.
 To begin, children swing their hands back and forth while moving
their bodies side-to-side, sometimes holding hands with each other.
 During the second part of the song, they dance, shaking their hips,
sometimes with one hand on a hip and the other hand touching the
head.
 They turn right, left, or completely around, dancing while facing
different directions.
 Turning to face each other, they compete to see who can shake their
hips best.
 Then the children will repeat the whole song from the beginning,
with variations according to their enjoyment and excitement.
Instruments:
 Whatever is accessible to support the rhythm of the dance and the
pulse of the song.
 Drums, or empty plastic baskets, pieces of metal, pieces of woods,
shakers or tins filled with small stones, and clapping are common
instruments.
For the children, this singing game is about having fun, enjoying the dance
movements and the fellowship.
52
Watoto Wangu Ee- My Children
Text Translation:
Each time other members respond - ee - as the sign of paying attention and
agreeing to what the leader is telling them. The leader sings - Mama yenu (your mother) if it is a girl and - Baba yenu - (your father) if it is a boy.
Literal Translation:
Watoto wangu ee- My children ee,
Mimi Mama yenu- Me your mother,
Sina nguvu tena- I do not have strength anymore
Ya kuua Simba- for killing the lion
Simba ni mkali- the lion is fierce
Ameua baba- It killed my father
Ameua mama- it killed my mother
Wote kimbieni- all of you run to me
53
Background of the Song:
 Popular singing game for children among different ethnic groups in
Tanzania.

Variations of text from one geographical area to another.

Soloist and responding group.

Children may sing at any range/key suitable for them -- F major is a
suggestion.

Tempo may change according to the game's excitement.
 Two children facing each other, each playing a "single parent".

The Catcher/ "the Lion", is between the parents, and the rest of the
children form a group.

The ground boundaries are set.

One parent stands alone and sings the solo parts- Watoto wangu ee -

Other children join with the other "parent", responding -ee- and clap
to accompany the soloist.

Soloist asks them to cross the middle- Wote kimbieni -.

Catcher's/Lion's job is to catch one child crossing, who is then out of
the game, but can continue to sing and clap with the others.

Game ends when only one child is left and the game ends.

If numbers are few, the soloist plays a double role, being the soloist
and the catcher at the same time.
54
Text Translation:
Ulinge bayoyo- Ulinge bayoyo
Dada Rose piga magoti tuonyeshe maringo yako bingiri bingiri mpaka chini
Sister Rose kneel down showing us your skills, shake it (bingiri,bingiripicture language) shake it get down.
Alternative text- variations:
Tunamuomba kaka Shekifu atuonyeshe maringo yake, bingiri bingiri mpaka chini
We are asking brother Shekifu to show us his skills, shake it, shake it, get down.
Tunawaomba watu wote mtuonyeshe maringo yenu, bingiri, bingiri, mpaka chini
We are asking everybody to show their skills, shake it, shake it to the ground.
The word dada-sister is used to identify a girl, and kaka- brother whose name
follows, called forward to show her/his skills on shaking the body especially the hips
while kneeling to the ground.
Background of the Song:
 A leader sings the solo part and other children respond.
 The soloist calls another child to step forward.
55


The leader starts the song again from the beginning, and the singing
game follows the same pattern.
While kneeling or seated, those in the middle sing and clap to
support the rest of the group.
 Children hold others hands in a circle or semi-circle, swinging arms
back and forth as they start the singing game.
 The soloist calls one of the children to step forward and show his/her
skills in shaking the hips. Other members stop all movements and
clap their hands in rhythm to support the dancer.
 Children who showed their skills stay kneeling or seated in the middle
until the whole group has been featured.
 When the leader feels that the group is tired or the game must come
to an end, she/he calls every one standing to show their skills all
together.
Accompaniment:
Clapping, drumming, playing the shakers or hitting anything available that
produces sound.
CONCLUSION
The researcher is aware that the songs of these people are not written down;
they were passed on through oral tradition. Through interviews and from his
memory, the researcher collected a number of songs. Some songs are not
listed, for example small children songs (lullabies and other regional songs),
as they vary from one age group to the other and some are not permanent.
The presentation is limited to children song games and dances, but the
researcher is also aware of other children games that do not involve singing.
They also carry the cultural heritage of communities to which children
56
belong and can be useful to teaching and developing children skills in
different aspects of life.
These few children game songs that are introduced in this paper can be used
in any culture, and in elementary classrooms apart from the culture to which
they belong. If introduced well, children will enjoy the movements, rhythms
and other musical elements found in the song games. Learning others
cultures and music will help children to know their culture better including
music and open their minds more to the global culture.
I am delighted to be able to share the traditional children music and the
culture of the two ethnic groups found in Tanzania, Wasambaa and
Wamasai. With the awareness that there are many other traditional children
song games that are yet to be collected and documented; the researcher has
opened the door for further research on Tanzanian children songs that can
be used in a multicultural context.
57
GLOMUS Network Meeting
&
North-South-South meeting
GLOMUS Camp Tanzania 2013
Tuovi Martinsen, Head of International Relations
Sibelius Academy, Finland
GLOMUS Network

Umbrella for initiatives

Virtual network

No secreteriat

No secure or permanent funding

Nothin more than what its members
bring into it!
Today and during the camp

GLOMUS

Finnish funding: North-South-South -program

Danish funding: DCCD cultural development project funding

Other funding tools

Joint cooperation under GLOMUS network
o Future challenges and objectives
58
NORTH-SOUTH-SOUTH
Higher Education Institution
Network Program

Finnish network program

North-South: Cooperation between north (Finland) and south

Under GLOMUS umbrella

North-South-South: cooperation between north and south, also
between south and south

Funding for other Nordic partners from other Nordic sources
Program Purpose

to contribute o to the UN’s Millennium Development Goals o to the aims of the Finnish development cooperation policies

to enhance human capacity through interaction and mobility

to generate and disseminate knowledge

to create sustainable partnerships

to focus on the enhancement of higher education in partner
countries
Finnish developmental policy

Importance of culture has been recognized in developmental policy

Culture is seen as a basis for all development

Tying up culture and education: strong tool for capacity building

Creative industries and employability

New technology 
Gender equality 
Disabled people
Program activities
The program is divided into 3 components:

reciprocal teacher and student exchange

joint intensive courses (GLOMUS camp)
59
– organised in the South

activities that promote networking
– preparatory and administrative visits
– joint network meetings
Teacher Exchange

from 1 week to 6 months

normal length 2 weeks

always a Finnish counterpart – either as a sending or as a receiving
institution

programme covers
– daily allowance appr. 70€
– travel expenses
– Accommodation

no extra salary from the host institution
Student Exchange

from 3 to 12 months

students who have finished their first year of studies (undergraduate
and graduate level)

doctoral students
– only for students coming from southern countries to Finland
– only as a part of the network cooperation

program does not support mobility that aims at the completion of a
whole degree in the host country

always a Finnish counterpart
– either as a sending or as a receiving institution

scholarship covers flights, visa and insurance, accommodation and
part of the living costs
Student Exchange (continued)

charging of tuition fees not possible 
student union fee or equivalent is possible

transcript of records is needed for recognition

applications by March 31st

application + recording
60

final selection/decision by host institution
Intensive Courses

arranged jointly by the member institutions of the network

courses take place in institutions in the South

intensive courses may last from 1 to 10 weeks (e.g. 10 days)

course participants are students and teachers from both Finnish and
partner country institutions (+ Nordic partners)
Networking Activities

preparatory and administrative visits networking meetings

academic and other personnel involved in the cooperation may
participate

network meetings may take place either in Finland or in the South
Funding

part of the official development aid and is financed by the Finnish
Ministry for Foreign Affairs

overall programme budget is appr. 2,6 million euros

Two-thirds of the budget is channelled into student and teacher
mobility, 10 % into intensive courses and the rest into networking
activities and programme management at central level
Program management

Centre for International Mobility, CIMO

CIMO awards project funding for networks of higher education
institutions.

calls for proposals on annual/bi-annual basis

coordinator of the network is always a Finnish university
Finnish African Exchange Network
for Higher Education in Music (FANM)
61

Coordinator: Sibelius Academy, Finland

Partners:
o University of Ghana, Ghana;
o University of Cape Coast, Ghana;
o University of Cape Town, South Africa;
o Universidade Eduardo Mondlane, Mozambique
o Tumaini University Makumira,Tanzania
o Cairo Academy of Arts, Cairo Conservatory, Egypt
Network Aims

Sustainable cooperation

to support educational development of curricula and to increase all
kind of interaction between the cultures

to enhance academically important teacher and student exchange
(tool for developing deeper cooperation)

qualitative results (e.g. new courses and new teaching methods),
which affect the study program development

Organizational development and human capacity
62
Objectives

Identified development areas for each of the participating
universities – Short and long term goals

As equal delivery of the teacher and student exchanges as possible
Activities 2006-2012 Teacher exchange visits:
From
To
Name
Year
UG
SibA
SibA
UG
UEM
SibA
UCC
SibA
SACM
UCC
UEM
TUMa
SibA
UG
SACM
SibA
SibA
UG
SibA
UCC
SibA
SibA
SibA
SibA
Johnson Kemeh
Eero Koivistoinen
Eero Koivistoinen
Pascal Zabana Kongo
Eduardo Lichuge
Tapani Länsiö
Isaac Amuah
Heikki Liimola
Darryl Andrews
Senyo Adzei
João Cabral Armando
Randy Stubbs
2006
2007
2007
2008
2009
2009
2010
2010
2011
2011
2012
2012
From
UG
SibA
SibA
SACM
UEM
SibA
UCC
SibA
TUMa
SibA
Cairo
SibA
To
SibA
UG
SACM
SibA
SibA
UEM
SibA
UCC
SibA
TUMa
SibA
Cairo
Number
2
2
1
1
2
0
2
1
1
0
0
0
Activities 2006-2012 Student exchange visits:
From
To
Name
UG
SibA
Prince Evans Cudjoe
Year
2006
63
SibA
SibA
SibA
SibA
UG
UG
UG
UG
SibA
SACM
UEM
UCC
UCT
Cairo
TUMa
UEM
SibA
SibA
UG
SACM
UG
UG
SibA
SibA
SibA
SibA
UG
SibA
SibA
SibA
SibA
SibA
SibA
SibA
TUMa
UCC
From
UG
SibA
SibA
SACM
UEM
SibA
UCC
SibA
TUMa
SibA
Cairo
SibA
Florian Rynkowski
Emma Larsson
Tiina Mäkelä
Thais Morellato
Daniel Awuletey
Emmanuel Esson
Samuel Nyarko
Senyo Adzei
Katriina Lustig
Paul Morrissey
Timóteo Cuche
Torwomenye Kori Ansah
Andries Barkhuizen, piano
Ms. Kholoud Sharara, flute
Mr. John Jutta, music education
Mr. Nicolau Cauaneque, jazz
Ms. Ella Isotalo, Glomas
Mr. Eetu Ranta-aho, composition
To
SibA
UG
SACM
SibA
SibA
UEM
SibA
UCC
SibA
TUMa
SibA
Cairo
2007
2008
2009
2009
2009
2009
2009
2009-10
2010
2010
2011
2011
2012-13
2013
2013
2013
2013
2013
Number
5
3
1
2
2
0
1
1
1
1
1
0
Activities and Funding 2011-2013
Funding 55,840€
TeacherExchange12,900€
 min.4 (2 from south to Finland, 2 from Finland to south)
 1. Makumira to SibA
 2. UEM to SibA
64


3. SibA to UCC
????
Student Exchange 20,940€
 min. 6 exchanges (4 from south to Finland and 2 from Finland to
south
 Not possible with the available funding!
 1. Makumira to SibA
 2. Cairo to SibA
 3. UCT to SibA (academicyear)
 4. SibA to UCC
 5. SibA to Makumira
 6. UEM to SibA
Intensive course 15 000€
 All flights
 Accommodation
 Catering
 own contribution and/or external funding might be needed
Networking meeting 5 000€
Administrative visit (to UEM) 2 000€
Network

platform for continuous development

reciprocal student and teacher exchange

intensive courses 
networking meeting
65
Intensive Course 2013

GLOMUS camp Tanzania

Students and teachers from GLOMUS partner institutions

Funding from the program is max. 15,000€

Additional funding is needed
New call for applications 2013-2015

Information session January 25th

Deadline possibly in February or March 2013

Careful evaluation

Focus in mobility

Increase of scholarships

Increase of funding for Intensive Courses

Total program budget 6.9 M€

Year 2013 call: 2.35 M€
Future challenges

Creating a fully working network – Networking meeting important

Enhancing interest for exchanges among students and teachers
– Intensive Course

Shared administrative workload in organising events

Increasing the number of exchanges

Finding mutually interesting areas for cooperation

Including new partners?
Questions

Objectives

Promotion of gender equality

Each institution’s expectations and objectives

How the project will support south-south collaboration?

How does the project relate to the international strategy of the
higher education institutions?
Regional Presentations: Nordic (Finland, Denmark, Sweden)
66
Part I
Pär Moberg, Malmö Academy of Music, University of Lund, Sweden
67
68
69
Part II: Folk Musician: A creative artist in a modern day
Vilma Timonen, Sibelius Academy, Finland
Instruments common in Finnish Tradition





Kantele ( -2000years) Shepard’s instruments (- 2000years)
Jouhikko (- 2000 years) Violin ( 1750 -) Accordion ( 1850 - ) Strong singing tradition
70
Studying Folk Music in Finland
 Sibelius Academy ( since 1983)  University of Applied Sciences (Kokkola, Joensuu)
 Folk High School (Kaustinen)  Music Institutes ( various )
Characteristics of the Traditional Music
 Learning by ear  Individual interpretation  Always changing and developing
 Improvisation
Methods to Teach
 Learning by ear. Archives, recordings, old master’s,
teachers
 Encouraging the student to find his own voice  Improvisation in all it’s forms  Composing material based on the tradition and
otherwise
Modern Folk Musicians
 Musicians who know their tradition and their
background  Musicians who are well established in various kind’s of
artistic settings
 Musicians who explore boundarys with themselves and
with their instruments  Innovative and creative
71
Presentation: Pär oberg,
Malmö Academy of Music, University of Lund, Sweden;
72
73
74
75
Presentation: Senyo Adzei,
University of Ghana - School of Performing Arts (Accra) “Developing contemporary idioms from traditional
musical resources: Creative ethnomusicology—the case
of Zigi musical ensemble”
Live music demonstration and presentation
(check www.glomus.net for video)
Regional Presentation: Middle East (Egypt, Syria, Palestine)
Mohammed Awad
Edward Said National Conservatory of Music, Palestine
Amal Elshahed
Egyptian Academy of Arts, Cairo Conservatory
Moslem Rahal
Higher Institute of Music in Syria, Damascus
Live music demonstration of instruments and genres
(check www.glomus.net for videos)
76
A Historical Overview of Theatre in Ghana
Dr. Awo Mana Asiedu School of Performing Arts
University of Ghana, Email: [email protected]
Introduction

Traditional 
Concert Party/Popular Theatre

Theatre for Development

Literary
Traditional

Festivals 
Rituals; funerals, marriage ceremonies, religious rites etc.

Storytelling 
Traditional Dance and Music
There has been heated debate as to whether drama did or did not
exist in pre-colonial Africa, and to what extent it could or should
be distinguished from rituals. I believe that much of this
confusion is caused by using English words like ‘drama’ ‘theatre’
and ‘ritual’, which are loaded with meanings derived from
European rather than African culture. (David Kerr, 1995:1)
77
Festivals

Odwira by the Akwapems in the Eastern Region,

Homowo by the Ga people of Greater Accra 
Damba by the people of the Northern and Upper Regions

Hogbetsotso by the Anlo in the Volta region 
The Adaekese of the Ashantis
A Scene from a Festival (video)
The Ashanti Chief at the Adeakese Festival
STORY-TELLING
The spider, (Ananse in Akan or Ayiyi in Ewe) is the major stock character in
these stories. Thus stories known as Anansesem
Stories told on moonlit nights to small participating audiences.
Moralistic stories meant to teach the mores and norms of the communities
in which they are told.
The story-teller is not just a narrator but also an actor
Traditional Dance and Music
78

Ubiquitous and an integral part of every traditional community

Part of funerals, festivals and all other occasions 
Highly participatory
Markers of Traditional Theatre

No gate fees are charged.

They are a part of the people’s everyday lives and have functions
beyond mere entertainment.

They are participatory.
Concert Party

An indigenous form of itinerant theatre which dates back to the early
1900s.

American vaudeville, Al Jolson and Charlie Chaplin silent movies said
to have influenced its initial development. (Cole, 2005, Barber et all,
1997)

Glass and Grant, an African American couple performed in Ghana
between 1924 and 1926.

Ishmael Johnson, Bob Ansah and Benjamin Hutton were the first trio
act - ‘The Two Bobs and the Carolina Girl’.

Axim Trio in 1937 – Addition of guitar band music

Proliferation of ‘trios’ and great popularity- 1937-1957

Independence in 1957- Governmental support and rapid growth

First truly professional theatre in Ghana where artists lived off their
art. At its’ peak in the 1970s there were over 200 hundred concert
party troupes registered in the country. (Barber et al, 1997).

1980s- Economic hardships and decline of CP

Mid- 1990s- Attempts to revive the tradition by the Ghana national
theatre. ‘Key Soap’ CP

2000-date – metamorphoses into home video production
Form of the Concert Party

A hybrid form described as on the side of tradition and innovation
(Bame, 1985)

Opening Glee- Guitar band music

Comedy skits and jokes
79

An improvised moralistic play on a contemporary/topical issue
interlaced with music/songs

The process starts all over again.
Key features

Local languages 
Improvisation 
Largely broad humour/slapstick comedy 
Commercial and itinerant, performing in found spaces
Theatre for Development

Aimed at communicating developmental messages to target
communities.

Roots in Ghana go back to colonial times when the colonial
administrators employed drama as a propaganda tool.

Introduced onto the curriculum of the Theatre Arts Dept. early 1980s

NGOs and Government agencies make use of it for their educational
campaigns

Theatre for a Change (TfAC Ghana) actively employ theatre for
HIV/AIDS education and youth empowerment
Literary Theatre

First Ghanaian play The Blinkards by Kobina Sekyi. Written and
produced 1915 but not published until 1974.

1900-1957 –dominated by European texts 1957- Independence and
nationalist theatre
Efua Sutherland and her Anansegoro
Sutherland was concerned with producing theatre that did not begin with
‘William Shakespeare and end with Sheridan’, but that ‘which would obtain
its strength and inspiration from Ghanaian life’ (1962)
Anansesem- Ananse stories/words Anansegoro- Ananse play 80
The Marriage of Anansewa – result of her research and experimentation
Plays in the Anansegoro Tradition
Martin Owusu- The Story Ananse Told , The Legend of Aku Sika
Asiedu Yirenkyi- Ama Praana Yaw Asare- Ananse in the Land of Idiots and Secrets of an Ancient Well
ohamed ben bdallah’s bibigoro
'Abibi’ as in Abibiman- Black nation ‘Agoro’- play’
Abibigoro- Play of black people/African play
Traditional performance forms of ritual, story-telling, music, dance and
mime in combination.
A Pan- African aesthetic
Plays
The Trial Of Mallam Ilya And Other Plays (1987) The Fall Of Kumbi And Other Plays (1989) 81
Land of a Million Magicians (1993) Song of a Pharaoh- most recent play not yet published.
Other forms
Realistic/naturalistic plays without any reference to traditional performance
modes.
Bill Marshall- The Crows, Son of Umbele, The Queue and In the Shadow of an
Eagle
J C, DeGraft -Sons and Daughters
Experimentations of Efo Kodjo Mawugbe
The Prison Graduates- Makes use of role play, mime and a complex plot
structure
BBC World Service and British Council International Radio Playwriting
Competition in 2009 award winner
“imaginative”, “muscular” and “hysterically funny”.
http://www.bbc.co.uk/programmes/p0053h57
Ebow Whyte’s Roverman Productions

Comedies 
Relationships oriented 
Use of a guitar band and popular music 
Written texts, but fluid 
Highly commercial 
Highly popular 
3-4 plays each year since 2008 (one play every quarter

Festival of plays in December-January each year
Conclusion
Traditional forms of theatre continue to exist and evolve and remain very
much a part of Ghanaian life
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There are movements towards a professional theatre industry, but we still
have some ways to go.
A more stable political and economic environment will aid this process
In Africa theatre matters. African theatre is entertainment, but it can also be
aesthetically, politically, socially and spiritually committed, and often it is all
of these things simultaneously. ... At its best African theatre is a total
experience of mind, body and soul which engages with, and feeds off a
highly responsive, involved and vocal audience. (Banham and Plastow,
1999:vii)
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84
85
86
87
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Presentation: Ahmad Sarmast, Afghanistan
“The challenges and possibilities for music education
in a conflict area”
Unfortunately Sarmast was unable to attend and give this very relevant
and timely presentation
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MALAYSIA: An Introduction to Music and Music Education
Ramona Mohd. Tahir Faculty of Music Universiti Teknologi MARA
Shah Alam, Selangor, MALAYSIA
Overview



Music Education in Malaysia
About Universiti Teknologi MARA (UiTM)
About UiTM’s Faculty of Music
Glomus Camp 2013, Tanzania
3
About Malaysia




Independence in 1957
13 states located over Peninsular and East Malaysia, 9 sultans, 1
supreme ruler
Population of 28 million (2010 statistics) Islam is the state/official
religion
Multiracial society – Malays, Chinese, Indians, Indigenous, Eurasians,
others
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Music in Malaysia
• Influenced by neighboring countries – Thailand & Indonesia especially
• Influenced by history – colonialists, Chinese & Indians who came during
the British period, Indian muslim traders
• Influenced by popular Western music
• Music of the Indigenous peoples
The National Cultural Policy (1971)
• Classical western music
• Malay Folk (traditional) music
• Chinese and Indian musics Syncretic music • Indigenous music
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Musical Inst rum ent s of Malaysia:
som e exam ples
Serunai
Pensol
(aerophones)
Glomus Camp 2013, Tanzania
Rebab
Sape
(chordaphones)
8
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Canang
Tumbuk Kalang
(idiophones)
Gedombak
Rebana Ubi
(membranophones)
Examples of dances: inang, joget, zapin
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Music Education in Malaysia
• Music education as two entities – public and private
• Music as curriculum, music as co-curriculum
• Music as a subject in all primary schools since 1983
• Music as an examinable subject in secondary schools since 1996
• Music in the Arts School i.e. Sekolah Seni
Traditional Music in Malaysian Music Education
• Exists as co curriculum in primary and secondary schools (eg Caklempong
ensemble, gamelan ensemble, kompang group)
• Included in secondary school music curriculum (appreciation, ensemble
playing)
• National competitions (eg dikir barat, kompang, caklempong/gamelan
ensemble)
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About UiTM
• Since 1956 Malaysia’s largest institution of higher learning
• 15 branch campuses, 3 satellite campuses, 9 city campuses, 21 affiliated
colleges
• 300+ programs 180,000 students
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About UiTM’s Faculty of Music
• The first music tertiary program in Malaysia
• 530 students
• • PROGRAMS OFFERED: DIPLOMA MUSIC B. MUSIC EDUCATION (HONS) B. MUSIC COMPOSITION (HONS) B. MUSIC PERFORMANCE (HONS)
MASTER OF MUSIC (MUSIC EDUCATION)
MASTER OF MUSIC (RESEARCH)
DOCTOR OF PHILOSOPHY
• Administrative staff: 21 pax
• Academic : 40 pax comprising of local and expatriate lecturers from
Australia, Columbia, Czech Republic, South Korea, New Zealand, and
the US
• 30-40 pax part time lecturers each semester
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Faculty of Music: Some Success Stories
• Graduates who play important roles in forwarding music and music
education in Malaysia
• Graduates who are at the forefront of the Malaysian music industry as
musicians, conductors, orchestra managers, choir managers, music
librarians, recording engineers, arrangers etc
• Strong industry linkages – music industry, ministries and government
bodies, public and private sectors, embassies etc
• Internationalization of faculty – international visitors who conducts
workshops, masterclasses, talks, and performances at faculty.
• Organizer of impactful concerts, seminars, workshops in Malaysia eg the
27th ISME world conference in 2006 (ISME2006), UiTM Malaysian
composer series, Coorganizer of the only music education conference in
Malaysia – MusEd’02, ’03,’05, ’12, Seminar on the Kodály Method
organized in collaboration with The International Kodály Society etc
• Faculty members of international standing eg director of the center of
intercultural musicology at the University of Cambridge, composers whose
works are premiered/performed internationally, committee members of
international organizations, editors of international journals, judges of
international competitions etc
• Students performing/competing internationally – Middlesex University,
University of Cambridge, Festival Maliboro, Yamaha Band Festival, etc.
Faculty’s 3 Areas of Focus
• Putting Faculty on the World Map
• Increasing faculty research activities
• Producing Dynamic Graduates
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Some Strategies
• International visitors, external examiners, and lecturers
• Performing internationally
• Performances of international standard
• International collaborations
• Faculty Branding and Visibility
• Close networking with industry
• Center for Malaysian Musical Heritage
• Increased number of postgraduate students
• Obtaining national and international grants
• Consultancy, projects
• Holistic graduates
• Student leaders
• Strategic motivational/professional development programs for students
and staff
• Cross-cultural Student Exchange programs
• Fostering entrepreneurism – a Faculty of Music Production House
Samples of Activities in 2012
SEADOM
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Bengkel Etnik Nusantara
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Jazztified Concert
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Brass and Orchestra Masterclass
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Bridges Collective Ensemble
Visit to Tune Studio
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Krystian Tkaczewski (Poland) Masterclass
Huascar Barradas (Venezuela) Masterclass
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Faculty of Music Industry Day (HIFA2012)
Eximious Concert
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3rd Malaysian Composer Series
MOU UiTM with Central Market
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MOU UiTM with the Malaysian Philharmonic Orchestra
REVO – D (student professional development program)
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UiTM badminton champions!
UiTM Performing Group presents Malaysian Traditional
Music in 4 Genres
Let’s sing together Dikir Barat
Ewa bule Ewa bule Ewa bule teroju tigo
Ewa bule Ewa bule Ewa bule teroju tigo
Terima kasih!
http://www.youtube.com/watch?v=ywgOSGxw85U
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Regional Presentation: Tanzania
Adil Dabo, Dhow Countries Music Academy
Catherine Mushi
Third Year Student, Tumaini University Makumira
Video link below, also see www.glomus.net for more video:
http://www.youtube.com/watch?v=JD0DXpCAdu8
Map of Tanzania
Regional Presentation: Afghanistan
Khial Mohd Saqi Zada, Ali Esmahilzada, Samimullah Rafiq Zada Afghan National Institute of Music (Kabul) See video links below and also www.glomus.net
http://www.youtube.com/watch?v=pUCubph8JB4
http://www.youtube.com/watch?v=q6I2M6A087A
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Bringing the International Library of African Music
into the 21st century
Inhwa So
National Gugak Center, South Korea
Visiting Researcher ILAM
Hugh Tracey and Brief History of ILAM
The International Library of African Music (ILAM) website
(www.ru.ac.za/ilam) provides basic information about Hugh Tracey and
ILAM. ILAM is a music archive based on a collection of Hugh Tracey (19031977) that consisted of sound recordings and photographs taken on 19 field
trips throughout Southern and East Africa and the Congo. His recording and
research projects for almost fifty years since 1929 developed into the African
Music Research Unit in 1947, The African Music Society in 1948, and finally
the International Library of African Music (ILAM) in 1954 in Msaho, near
Roodepoort, with funding from a Nuffield Foundation grant matched by a
contribution from the mining industry of Southern Africa.
Hugh Tracey was a music collector and professional recorder. He was the
head of the Natal Studios of SABC radio (1936-47). He also produced
numerous records with Gallo Records. To encourage respect for African
music and perpetuation of its traditional styles, Hugh Tracey published two
major LP series. One of his publications was the 210 LP Sound of Africa
series for educational purposes, most of which was originally published by
ILAM between 1955 and 1963. The series contains over 3100 items of music,
almost all of which were recorded during 17 recording tours that occurred
between 1948 and 1963. The published results cover regions throughout
fifteen different countries in sub-Saharan Africa and include examples from
179 different language groups. The series remain central to the ILAM. The
other publication was the 25 LP Music of Africa series, which was available
for general release with Decca Records in the 1960s.
According to Andrew Tracey, the son of Hugh Tracey who became a director
after Hugh Tracey in 1977, "the overseas company which supported the
library refused to continue with sponsorship because of apartheid at the
time” (Ndabeni, 2009). So, when Rhodes University came on board in 1978,
Andrew Tracey moved the library to Grahamstown. ILAM turned from a
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private research initiative into an academic research institute that is part of a
higher education music faculty.
Hugh Tracey’s collection has been continuously reproduced. In 1998, the
“Historical Recordings by Hugh Tracey” series was published by producer
Michael Baird in collaboration with Professor Andrew Tracey. The 21 CD
series under Baird’s SWP Records label, an independent label based in the
Netherlands, includes music of Hugh Tracey’s collection that was not
previously published. Other collections were added including Dave Dargie’s
Xhosa music and African Christian music and Jaco Kruger’s Venda music.
With Andrew Tracey’s retirement, Professor Diane Thram, an American
ethnomusicologist who lectured ethnomusicology at Rhodes University
from 1999, became a new director in 2006. ILAM has a teaching and
performance room, a library and exhibition room, and a studio. The staff
includes a director, a secretary, three sound engineers and two librarians.
The ILAM website shows the projects to bring ILAM, the archive based upon
the music of the 20th century, into the 21st century. They can be classified
into 1) digitalization, 2) research, education and publication, and 3) outreach
programs. Based on the ILAM website information, existing studies about
ILAM and my own work experience as a visiting researcher at ILAM from
May 2011 throughout April 2013, I will introduce the major projects to bring
ILAM into the 21st century as well as criticisms made by other scholars about
this library, and I will make suggestions for its future development.
Digitalization
According to the ILAM website, “…the ILAM Digitization Project
(ILAM.DIG) was started in 1999 with funding from the Norwegian
Government (NORAD), via the Norwegian Broadcasting Corporation
(NRK)… In 2001 the project was assumed by the Smithsonian Institute in
return for material for the Smithsonian Global Sound website
(www.folkways.si.edu/find_recordings/ILAM.aspx). This project has made
hundreds of published and hitherto unpublished recordings available in
digital format.” The ILAM.DIG project was also funded by a grant from the
South African National Lotto, the South African National Research
Foundation (2007, sound recording, ILAM/South Africa Music Archive
Project Cataloguing and Digitizing Project,
www.disa.ukzn.ac.za/samap/category/collection/ilam), the US-based
Andrew W. Mellon Foundation (2008-2011), the Rand Merchant Bank’s
‘Expressions Fund’ (2008-2009), and the National Heritage Council (20062010, photographic and film collections) to allow scholars and others access
to ILAM’s collections via the internet.
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One can explore the collections from the ILAM website. One can also
purchase items from the collections in CD or MP3 formats by contacting the
secretary by email. Each entry provides users with a free 30-second audio
clip to which they can listen and a complete meta-data record for the over
12,000 items in the database (Thram, 2011). Photographs are sold through
ILAM's e-commerce website hosted by Africa Media Online.
However, there is a dilemma regarding digitalization of the collections,
which does not provide the poor people in Africa with easy access to the
music. Many of them do not have access to internet. Also, according to
South African law, the legal copyright to recordings was originally owned by
Hugh Tracey and had since been assigned to Rhodes University (Nobley,
2010). Also, royalties from the sales of the music files and CDs often fails to
find a suitable recipient in the region where music was collected.
Research, Education and Publication
Hugh Tracey started ILAM with a vision for research, education and
publication of African music. According to Lizabé Lambrechts (2011), “Hugh
Tracey intended to document methodically all the musics of sub-Saharan
Africa, to “form a basis of authentic data” (Tracey 1969:12) from which to
produce teaching materials, including a complete reference book (Tracey
1969:6, 52). He envisioned that this would lead to the “establishment of
accepted and logical terms suited to African phenomena” (1969:8).
Tracey wanted to give “African musicians a certain sense of background and
continuity to their art” (Tracey 1969:6) and to “bring African music into the
field of African education in its broadest sense” (Tracey 1969:7). It was
through recording, writing, codification and publication that Tracey believed
Africans and “the outside world” would recognize “the genuineness” of
indigenous African music (Tracey 1969:7).” He initiated “African Music
Codification and Textbook Project” in 1969 to produce materials for the
teaching of African music in schools throughout sub-Saharan Africa (Tracey
1969). However, it was not brought to fruition due to the inability to raise
funds because of sanctions on the apartheid government.
The same vision has been shared by his successors. In 2012, ILAM published
Understanding African Music as a part of ILAM Music Heritage Project SA
funded by the National Arts Council. The book was written by Mandy
Carver, Director of Music at the Diocesan School for Girls in Grahamstown.
One year later, ILAM published Listen and Learn Music Made Easy by
Boudina McConnachie, a music teacher at the Victoria Girls High School in
Grahamstown. The book was designed for the music component of the
Department of Education’s mandated creative arts curriculum for grades 7
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and 8. Currently, Diane Thram, the present director of ILAM, conducts Red
Location project, which seeks to “document the music” and stories of jazz
musicians many of whom were active in the 1950s and 1960s from the Port
Elizabeth area, which is about two hours from Grahamstown.
Regarding “the spread of information through the publication of the results
of all work on African music” (Tracey, 1954), Hugh Tracey began to publish
the annual African Music in 1954 when ILAM was established. The journal
continued to be published until 1999. Then, as a part of the ILAM.DIG
project funded by a grant from the South African National Lotto, African
Music was re-launched in 2007 when a CD compilation began to be included
(Thram, 2007).
In 1980, as a director of ILAM, Andrew Tracey initiated the Symposium on
Ethnomusicology and a publication of the Symposium Papers. The
symposium was later held jointly with the South African Musicology Society
(SAMUS) in 2005 in Capetown. At this meeting, the members of the
Symposium on Ethnomusicology and SAMUS voted to join forces to form
one society (www.ru.ac.za/ilam). Following this meeting and the formation
of a single society, the Symposium on Ethnomusicology was not held
anymore. Instead, SAMUS was modified to include both musicology and
ethnomusicology.
Presently, ILAM is actively used for a variety of educational purposes. The
practical classes for ethnomusicology students from Rhodes University, such
as transcriptions and instrument performances, are held at ILAM.
Additionally, ILAM hosts groups of visitors throughout the year.
Community Outreach Program
In 1947, the statement of Tracey’s African Music Society indicated a primary
aim, which was “to get the African music back to the people” (Hoernle &
Tracey, 1947). This statement reveals Hugh Tracey’s vision for a community
outreach program. The intention for Hugh Tracey’s recordings and research
was to benefit African communities. This has been almost a constant theme
that was confirmed and continued by Andrew Tracey and Diane Thram.
Current community outreach activities include regularly scheduled free
concerts featuring community musicians, ILAM tours and workshops on
African music, and opportunities for local musicians to produce recordings
using ILAM’s studio.
Criticism and Suggestion
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People have different perspectives and opinions of Hugh Tracey. According
to Anthony Trowbridge, one of three authors to begin uncompleted
biographies of Tracey, “Tracey found his objectives misinterpreted and
opposed for all the wrong reasons, mostly political. The extreme “right
wing” (i.e., conservatives) thought he promoted Black Consciousness, while
the “left wing” (i.e., liberals) thought he supported the government’s policies
of ethnicity. Meanwhile, the black intellectual imagined that he wanted to
push them back into tribalism, and some clerics thought he was flirting with
the devil. In the end, no overseas institution wanted to be seen supporting
anything South African (1985: 9).
As for the Hugh Tracey’s recordings, Noel Lobley (2010) criticized it as “the
relatively decontextualised field recordings.” He added that “many of his
recordings were made during specially arranged recording sessions on
mining compounds and were designed to serve the recreational policies of
the mining companies… Consequently, the content of his field recordings
seems to shift between being at times the produced perspective of an
outsider, and at other times being genuine attempts at musical collaboration
with local artists.”
Tracey believed that a musicological focus on recording and analyzing music
as an abstract system should be the starting point for African music as well
as Western music. Andrew Tracey explained this by saying, “If you record in
the context of a social event, you don’t get a clean recording.
Anthropologists in particular tend to want the event, and the music is
secondary. But what (he) wanted was the music, and the event to him was
secondary.” Also, ILAM had not been able to afford filming and Hugh Tracey
decided not to film, which can be regarded as a big loss.
Tracey’s fieldwork visits were wide but brief because of financial limitations.
It reflects the fact that he considered his work as a general preliminary
survey designed to gather evidence to prove the need for further in-depth
work, which is still valid in the 21st century.
Based on the fact that Hugh Tracey’s The Sound of Africa Series covers 179
different language groups, international collaboration is needed. A variety of
countries in Sub-saharan Africa are encouraged to take advantage of those
music files. ILAM provided a copy of all Uganda music files to Makerere
University Klaus Wachsmann Music Archive (MAKWMA) to house them in
the MAKWMA for research in 2011. Project proposals are welcomed for
research initiatives and/or production of educational materials using the
recordings and other related materials in the ILAM archive.
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Hugh Tracey recorded African music reflective of the present time.
Presently, in today’s global world, recording and its digitalization, research,
education, publication and even outreach programs could be done in
international cooperation in the 21st century. I would like to end with a quote
from Mr. Elijah Madiba, the Chief Sound Engineer at ILAM, who emphasized
the change of the times and ILAM’s new vision with my interview (Madiba,
2012): “We have to acknowledge the vision of the founder. However, it does
not mean that the identity of ILAM should be around the founder. That was
not his intention. Everything must be around African music. We should focus
more on the collection than on the collector. His name is not as important as
his work, his collection. Hugh Tracey was also a man of his time. Time is
changing and the direction of ILAM could also change. We should continue
to collect today’s music in Africa. That may have been exactly what Hugh
Tracey thought.”
Acknowledgement
I would like to express my deepest gratitude to the staff of ILAM for allowing
me free access to ILAM and generously sharing ideas about it.
References
Hoernle and Tracey, H. (1947). Proposed African Music Society. Meeting
Minutes.
Lambrechts, L. (2011). The Music Archive as a Methodological Conduit of a
Western-ness. Paper presented at the South African Society for
Research in Music, Rhodes University, Grahamstown.
Lobley, N. (2010). The Social Biography of Ethnomusicological Field Recordings:
Eliciting Responses to Hugh Tracey’s The Sound of Africa Series, PhD
Dissertation: University of Oxford.
Madiba, E. (2012, December 26). Personal interview.
Ndabeni, K. (2009). African Music Library Goes Digital
Thram, D. (2007). From the Editor, African Music 8, 1: 4-5. ______________.
2012. Foreword, Understanding of African Music by Mandy Carver, 7.
ILAM: Grahamstown.
Tracey, H. (1969). Codification of African Music and Textbook Project:
a Primer of Practical Suggestion for Field Research (written with
G. Kubik and A.N.T. Tracey). Roodeport.
Trowbridge, A. (1985). Profile: Hugh Travers Tracey, African Insight 15,
1: 4-9.
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Closing Presentation: GLOMUS: Where do we go from here?
Randall Stubbs
Local Chair, GLOMUS Camp 2013
Head, Department of Music
Tumiani University Makumira, Tanzania
It has been so exciting to see all of the different activities at this GLOMUS
Camp 2013. When I went through the GLOMUS Camp 2011 experience in
Ghana, the music was one of the highlights; not just a lot of good music, but
music from all over the world from many different traditions. This year there
were even more traditions represented, so there was even more variety in
the music.
One can both appreciate and enjoy the music coming from each region or
each part of the world, but also the fact that this music is all coming
together. We can make great music together, even if there are language
barriers, different ideologies, and different religions. We can come together
and use music as a bridge to get beyond any of these other challenges.
In Keld Kosobud’s opening comments he offered some expectations for this
year’s GLOMUS Camp and they are briefly mentioned again here. Crossdisciplinary meetings with theatre and music were new this year. We tried
to expand beyond just music to include some other disciplines as well. Many
persons have talked about the fact that in many cultural contexts you cannot
separate music as its own subject, and then dance as its own subject, and
drama as its own subject. They are all together in many cultures that are
represented here and that was very exciting.
There were many interesting discussions, opportunities to meet and talk
about ideas and challenges, to network, and time to think about future
opportunities in this GLOMUS network. Personal friendships have started
or advanced. It was great to see many that were in Ghana come to Tanzania
and to hear what has happened the past two years. It has been exciting to
see some students in Ghana return this year as teachers. To see persons
moving into different roles in their musical journey has been great.
There was a pool of good ideas for future activities. Personally, I have
never been involved in a network where there have been so many creative
persons and so many ideas, and so many persons wanting to think about and
talk about how one might do collaborative activities together in the future.
Hopefully there will be an increase of inter-cultural activities at our
115
academies if we all take these ideas and experiences that we had here and
put some of them into action when we go back to our institutions.
There are a few phrases, both in English and Swahili that I would like to
share during this closing session. The first is, Opportunities or Obstacles? Is
there anyone here that does not have any challenges at your institution? No,
we all have them. They could take on slightly different forms depending on
whether you are coming from Tanzania or another part of the world. The
specific kinds of challenges that we all face may be different, but the reality
is that there are challenges everywhere. Money, personalities, resources,
ideas, and partnerships are some challenges that each of us may face; some
might be bigger at one place more than others.
The music program at Tumaini University Makumira is quite young
compared the other programs that are represented here. The program has
existed only for 7 years. When my wife and I came here as volunteers we
thought that we were going to teach a few music courses and then return to
the States after one year. Fortunately, sometimes our plans do not always
come to fruition because there are other guiding forces at work. After just a
few months we felt strongly that we should stay longer. When we arrived
the person that wrote the initial curriculum and helped get the program
started went on maternity leave one week after we arrived and later decided
it was a good time to return to her home country, so from the beginning we
were dropped into a different environment and atmosphere than we
expected. At that time the department owned one textbook and a few
instruments. Now the program and resources have grown considerably.
Certainly it has not been only my work, but with the work and help of many
different persons to achieve this.
When things do not go as planned, I prefer to look at them as opportunities.
If we try to go through a door that is closed we may be stopped, but if we
look around for another door (opportunity) we may find another way into or
out of the room. If all the doors are closed there may still be a way in or out
through a window. Some ways are easier than others. If the first door is open
we can easily pass through and make progress faster. But sometimes when
those doors are closed and we have those obstacles in front of us, the
journey of looking for another opportunity or a way to make this into an
opportunity can actually strengthen us (or the program). I have experienced
this many times here at Makumira.
Our Vice-Chancellor’s motto is pole pole chuo, which means, “go very slowly
and carefully.” Now, that philosophy is very different from my way of
thinking. However, I must admit that even though I sometimes get
frustrated at some others not wanting to move as quickly as I would like to
116
move, there are some things that have made our program stronger because
the first way I tried to go was not a clear and straight-forward path. Instead
of being frustrated and disappointed because of these obstacles impeding
our progress, by having to talk to more people and look for more options the
final solution is really a better path. I still get challenges with this because I
still like to go fast, but I have to admit after living in Tanzania for seven years
now I have learned a lot about how to change obstacles into opportunities.
There is another Swahili phrase, haba na haba kijaza kibaba, that means
“little by little the jug is filled.” For many people here in Tanzania life is often
moving very slowly (compared to life in the West). Things move very slowly
here, but when you look back over a certain time period you can see that you
have made real progress. We can see that something has been
accomplished. Don’t get discouraged by obstacles. See how you can change
them into opportunities and keep moving forward little by little.
Where do we go from here? I do not have all the answers. Living here in
Africa one hears a lot about cultural heritage and the importance of
documenting. In the northern countries (Europe) written documentation has
been an important part of musical life for a long time. In some places for
hundreds of years there has been some form of documentation. Here in
Africa it is a more recent phenomenon.
Earlier we heard a presentation about the International Library of African
Music (ILAM at Rhodes University, South Africa) and the work of Hugh Tracy
starting in the 1950s. For those of us that went through a western music
history curriculum this is half way through the twentieth century when we
are first getting some written and audio documentation. What about
everything that came before that? Unfortunately, we do not have access to
what came before that time.
Documenting and cultural heritage are important. However, it is also
important that we acknowledge that music is always changing. Culture is
not static. Our music is not static. Even if we can take a traditional Luo tune
and sing it right now, we are doing it in a different cultural context than
where it came from originally. Maybe we want to change the words or
maybe we do not have the original instruments so we use something
different.
This creative aspect can be exciting. We can take something old and
something new and figure out how to bring the best out of both of those. To
acknowledge the traditions, but also to acknowledge that things are moving
forward. We are not stuck to one time to say now we are doing this exactly
as it was in 1954 or that this is the only way something can be performed. I
117
am happy that through all of the musical interaction here at GLOMUS Camp
I think this has been demonstrated in a very good way.
We started the Camp formal presentations with Dr. Sylvia NannyongaTamusuza from Makerere University (Uganda) talking about their archives
and we closed formal presentations hearing about the archives at ILAM
(South Africa). Here at Makumira we are in the process of starting an archive
program also. We are looking to these other African institutions for advice
on how we can best do that, because they have already started the journey
before us. The idea that we can learn from others as a part of what we are
doing everyday, all the time, is important.
For us as southern partners in the GLOMUS network this kind of cooperation
is worth encouraging. The North-South cooperation is critical and exciting as
well, but I want to encourage all of us to think about how we can build up
more of the South-South relationships. At Makumira specifically, we already
started a formal relationship with Makerere University last year. We look
forward to beginning some additional projects with them. We have also
been in contact with ILAM about how we can utilize some of their
knowledge about what they have done and how we might work together to
share our libraries (archives) for the benefit of scholars.
It has been fun for some of our Tanzanian students to listen to some of the
old recordings from Hugh Tracey from their ethnic group and analyze how
are their songs different and how are they the same today. Some of the
songs are remarkably similar to current practice and some songs have
changed dramatically. Documentation gives us a snapshot of the music at a
certain time in a certain place.
In the future, as we strengthen cooperation it will benefit all of us. The
southern partners will gain documentation and collaboration from the rich
musical heritage and then be able to share that with the rest of the world.
Bega kwa bega means shoulder to shoulder. This is something that our
family learned a lot in our first year in Tanzania. The idea of partnership is
important to the work that all of us are doing. This has been demonstrated
well here and I want to encourage us to keep doing it.
Because of the effects of colonization in Africa, there has been a perception
that ideas coming from the West1 are somehow better. Many that grew up
under colonization were told that what is coming from the West is better
1
The West refers to western culture. This includes Europe and North America, even though
Europe is North of Africa.
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than what is coming from Africa. That is an unfortunate reality and we
cannot change that past, but we can work together to change the future.
The idea of bega kwa bega is to walk shoulder to shoulder, not that one
person should be leading another, but that we walk together. In Tanzania
when many people walk together they hold hands2. That way they stay
together on their journey. Each person’s ideas are important. Each person is
important to the success of that relationship.
It may be true that some countries have easier access to certain resources,
especially money. That is simply reality, but that does not mean that we
need to have unequal partnerships. There is so much to offer from the
southern partners (and also the Middle East), but we have to look beyond
just money as the only way to have partnership.
How can we fund this? Of course, money is a reality and we must deal with
it, but we have to learn to see that the southern partners have ideas, creative
energy, and other real contributions to partnerships. We need to learn to
walk bega kwa bega and not have one person (institution) providing all of the
ideas and the money and leading the other. The other person (institution)
then feels that they can only say, “yes” and “thank you.” That is not the idea
of bega kwa bega.
This affects me as the Head of the Music Department here at Makumira as I
try to think about how to walk bega kwa bega with those around me. I do not
need to be somehow elevated above others, but we need to move together
as a team. There have been comments about how welcoming many persons
are here in Tanzania and at Makumira. Moving together and being together
in community are some of the aspects of life here that can be very enjoyable.
To demonstrate this idea in a musical way, Seth Lulumaze (music student
from Makumira, Tanzania) and Ella Isotalo (first exchange student from
Sibellius Academy, Finland to Makumira) will perform a welcome song from
the Waha ethnic group in western Tanzania together using two different
kinds of zeze3 They are accompanied on their musical journey by additional
Makumira music students on various percussion instruments. (A video of the
performance is on the GLOMUS website, www.glomus.org )
2
In Tanzanian culture it is very common for women to hold hands with each other and also
for men to hold hands with each other. It is rare to see a man and a woman hold hands
together, especially in rural settings.
3
Zeze is the Swahili name for various traditional stringed instruments played with a bow.
They may have 1-5 strings and different kinds of gourd resonators depending on what part
of Tanzania they come.
119
There can be positive aspects in every type of music for nearly everyone.
Music has value. At the GLOMUS Camps there is not a feeling that we can
only do this certain kind of music because it is somehow better than that
kind of music. There are so many completely different kinds of music that
GLOMUS participants have enjoyed from all over the world from many
different traditions. Others have been genuinely interested in what is going
on and wanting to know more about the instruments, the tuning systems,
and more. Within this GLOMUS context there have been many types and
styles of music and they have been treated equally.
One kind is not more important than another. We are able to share that with
each other. In this current reality of globalization, this is a much healthier
attitude, to have respect for all of the different cultures and types of
music than to say you have to do this kind of music because it is more
advanced or if you cannot do this you must not be a good musician.
I have heard discussions among different institutions about how can we
encourage traditional musicians who do not have a formal academic
background, so that they feel that their music and contributions are also
valued. GLOMUS Camp has been a good start for this kind of issue. “I have
loved hearing amazing musicians playing all styles of music on many
different instruments. It’s great!”
All of us, especially those of us that are teachers, are giving out and sharing
what we know, but an opportunity like what we have through GLOMUS
Camp is also a chance to learn from others and keep the learning process
going. This is very important. It has been inspiring to me that persons have
been willing to try new things. That attitude is healthy.
How can we keep some of this GLOMUS momentum going? We have had
this great experience here. Then we get on the plane and back to our home
institutions and reality hits. We try to talk about how exciting it was, but
somehow others do not get as excited as we do. “You just went there
because the weather was really nice and it is really cold in the Nordic
countries.” “You got a two week vacation. That is why you returned
refreshed and rejuvenated.” I think it is more than that.
There is a Swahili verb, kusindakiza, that means to accompany, to join
someone on their journey. In Tanzania when you visit someone at their
house and you get ready to leave the person you visited walks with you part
of the way on your journey. This was confusing to me when I was new in
Tanzania because we do not do this in America. Our students explained that
this was just normal here, to accompany you part of the way on your journey
to help you get going. You continue your conversation and after a while, a
120
few meters or a half of a kilometer, they will return home while you
continue. They have encouraged you as you begin your journey.
I love this idea of kusindakiza. Speaking as an American, we tend to be very
independent. We have all of these self-help books and tapes. We have stores
where you can learn how to do-it-yourself. Even if you want to build a house,
you could get the plans and figure out how to do it all by yourself. Somehow
we think that is a good thing, because I am smart enough to figure out how
to do this on my own.
After living in Tanzania for seven years I am starting to figure out that if
someone else comes along and helps it will be an easier journey. You might
have some experiences that I have not had and vice versa. We can share
those together as we work together. This idea of accompaniment is true
even for a short trip to Arusha. Our students rarely go anywhere by
themselves. It is a part of life here to accompany others on their journey.
A few years ago we had an international music teacher and unfortunately
one day her computer and purse were stolen from her front porch inside her
compound as she was getting ready to come and teach. She called me and
told me this information while I was teaching a class. My students could see
by my reaction that something was wrong. They asked what happened and I
told them what I knew. The students said, “OK. Let’s go.” I said, “Go where?”
The students replied, “We have to go there!”
I agreed to take a student with me and go to Arusha, but the students said,
“No. We are all going!” I could see I was in the minority, so I agreed. All of
the students wanted to go and support this teacher during this challenging
time. Some of the students accompanied her to the police station, some
searched around the compound and outside the compound. Others had
nothing to do, so they showed their support by just being there on this
journey. Kusindakiza is applied during the good times and the challenging
times as well.
Speaking only for myself as an American, this has been a difficult lesson to
learn. I like to do it myself. I want to do it my way. To be able to listen to
other voices and give them weight and what they can do has led to many
exciting experiences. I have not yet figured everything out, but I have
learned a few things (mostly from my students).
How can we keep this going? How can we kusindakiza each other? I have
heard lots of discussion about person to person collaborations. Maybe after
this Camp is done some of you have agreed to do some music or visit on an
individual basis. That is a great way to start. We also have institutional
121
collaborations. Maybe you have met teachers or administrators from
another institution that you want to organize exchanges or do some projects
together. That is great.
Andrew Tracy (son of Hugh Tracy) said, “Time is changing, and we also need
to change.” Things that worked well ten years ago may still be good ideas,
but in many places they may not work anymore. If we are talking with each
other and sharing ideas and working together, then we can keep this
momentum going.
If you are asked to be involved, participate! Like many other aspects of
life, the more that you put into it the more you get out of it. If you stay on
the fringe you may always feel like GLOMUS is a nice idea, but it is not quite
for me. If you step into the dance circle dance and try to participate, you
might discover something very exciting. If is more work, to be sure, but
there is also more reward.
Finally, we can be advocates for music. We talk a lot in our music education
program here about this, because music is not taught in most schools. We
talk about how to be advocates for music and music education. Maybe you
have enjoyed some experiences here and you would like to advocate that
this is a model that could be used in another place or in another way.
Be part of the solution and not part of the problem. I have this posted on
bulletin boards around our music rooms. If you see that there is a problem or
challenge somewhere, offer to be part of the solution. Do not think that
because you are just a student or just a teacher that you cannot do anything
about it. I have received many good ideas from our music students. They
know much more than I do about certain things. If we can acknowledge that
each person in the room has great ideas about something we will all benefit.
Do not be afraid. Speak up and share it.
The closing example is a song in Swahili advocating for music education in
Tanzania. Kelvin Mdadila (music student at Makumira) composed it using
rap mixed with traditional instruments. (Video is here:
http://www.youtube.com/watch?v=q6I2M6A087A
I would never have come up with this, not in a thousand years. Our students
are so full of creative ideas. We can help nurture those ideas, walk together
with them. Our students are the future for Tanzania, not those of us that are
outsiders. Our job (as outsiders) might be to help get things started, stir
things up a bit, to help set a framework, but our students are the future.
Involve them in the dialogue. Involve them in the process.
122
Thank you for the opportunity that we have shared together at this year’s
GLOMUS Camp. I think the future is bright for all of us. Hopefully we will not
lose this energy and enthusiasm that we have right now so that we can keep
things going after this Camp finishes.
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MUSIC IN EDUCATION CAMPAIGN RAP LYRICS
By Kelvin Mdadila,
Third Year Music Student, Tumaini University Makumira, Tanzania
Video link: http://glomus.net/index.php?id=114
INTRO:
The world’s top academic countries place a high value on music education
both at the elementary and middle school levels. We are still a developing
country. So shouldn’t we place even a higher value on it?
Researches have discovered a lot of music education benefits! If you never
knew about them, listen to my lines..
VERSE 1:
It’s children’s right to know, their music and culture/
Shouldn’t let them grow up, without knowing their nature/
Music is intellect booster, and still it’s adventure/
It needs real engagement, not just the lecture/
It teaches love, guts, unity and concentration/
And releases anger, agony, stress and depression/
It’s a tourist attraction, as it promote the vernacular/
Produces money as a job, it should not be extracurricular/
Peace of mind with no music in schools?! … I can’t imagine!/
Fulfillment without music in schools?! … I can’t imagine!/
Music and education is like a person and who? - I think a cousin!/
The two are too intimate; don’t draw the margin!/
As desks and chalks are distributed, pianos also should be!/
Kids should learn music and choose to be what they want to be! /
We need music in curriculum, hey wake up from the bed!/
Cutting funds trend for music programs should now stop being heard!/
124
CHORUS:
ET’S S PP RT IT!, ET’S PR
TE IT!
ET’S PROTECT IT! – MUSIC!!!
ET’S RESPECT IT!, RES RRECT IT!
NOT NEGLECT IT! – MUSIC!!!
BRINGS DISCIPLINE AND ENJOYMENT – MUSIC!!!
IMPROVES THINKING AND AWARENESS – MUSIC!!
CHILDREN SCORE HIGHER IN THEIR TESTS DUE TO – MUSIC!!!
SO WHY SHOULDN’T IT BE PUT IN CURRICULUM LIST? – MUSIC!!
VERSE 2:
For the newborns, it enhances spatial intelligence/
For the grown ups, it’s a solution for teen violence/
It trains creativity, preparation and expression/
As well as discipline, cooperation and association/
Adjusting decision grows as you deal with tempo, rhythm, and phrasing/
For intelligence and knowledge growth music is the number one setting/
Let’s give our pupils a complete education that does include music/
Clinton and Obama said for better life there should be in schools music/
For sure education without music is kind of humdrum/
But ear training and sight reading, activates the cerebellum/
Let your kids learn music earlier if you are really prudent!/
Music and arts makes better Maths and science students/
And in concerts it improves child’s ego, as he receives kudos/
And mind gets active like the muscles in judo/
Music heals patients and stimulates immune system/
Because of those, let’s put it in the education system/
CHORUS:
TE IT!
ET’S PR TECT IT! – MUSIC!!!
NOT NEGLECT IT! – MUSIC!!!
125
VERSE 3:
Tanzania with no Music Ed, these effects will come/
Lack of cultural appreciation, and patriotism going down/
Local composers can't notate their songs, it really gets sad/
Tanzania needs more music courses, Tumaini Makumira gives the standard!/
We need local experts, who can do notation/
And we need local experts, who can do documentation/
So the music doesn’t die with elders, but passed through generations/
And the nation get respected, by valuing the identification/
Let’s bring it to the public, it’s part of society’s fabric/
And it’s so fantastic, if we make it classic/
Yes we need more funds, so that we can expand/
Let's not undermine music, music is so grand/
To the officials in ministry, this is an agenda to be discussed/
Let’s reveal the truth and not let it be disguised/
Music in education campaign in Tanzania, is something new to hear/
So if you join me in the campaign, we gonna be the pioneers/
CHORUS:
TE IT!
ET’S PR TECT IT! – MUSIC!!!
AND NOT NEGLECT IT! – MUSIC!!!
OUTRO:
Music needs to be taught in schools right NOW!
We need it to be in the curriculum right NOW!
It’s not a joke we need it! It makes us advance in other subject areas like
Maths, Science, History, Geography… And enjoy life as a whole!
Let's support it! ...Music!
MUSIC IS HEALTH!
MUSIC IS WEALTH!
WE NEED MUSIC IN SCHOOLS!
MUSIC IS STRENGTH!
©2013 By Kelvin Mdadila
126
E-mail: [email protected]
REFERENCES:
http://www.foxnews.com/health/2012/03/28/how-important-is-music-education-inschools/#ixzz1yxvwqYkS
http://edition.cnn.com/2011/SHOWBIZ/Music/05/31/music.education.cake.difiore/i
ndex.html
http://education.more4kids.info/23/the-importance-of-music-education/
http://www.childrensmusicworkshop.com/advocacy/youngmind.html
http://www.foxnews.com/health/2012/03/28/how-important-is-music-education-inschools/
http://www.brighthubeducation.com/teaching-elementary-school/11235importance-of-music-education/
1988 International Association for the Evaluation of educational Achievement (IAEEA)
Test
127
Glomus Network for Higher Education in the Performing Arts:
Where do we go from here? Tanzania 2013
Thomas Winter, Rector, Royal Academy of Music, Aarhaus, Denmark
Present state
Virtual network based organisation.
Members: Nordic institutions and their Southern partners from various
programmes (NSS – CKU etc.) – and other random institutions (e.g. Butler
School of Music, UT)
Existing, but unclearly defined vision, mission and strategic goals
www.glomus.net improving – but still work to be done
Been successful in arranging and funding 3 camps with growing number of
participants
Future challenges and questions
What could be GLOMUS future vision, mission and strategic
goals/charter/credo
What type of organisation should GLOMUS form in order to live up to its
vision, mission and strategic goals.
How do we secure future funding
Should a permanent GLOMUS secretariat be established, If so, the where
and by whom
How do we further develop the website How do we include future new members What process can we have to get us from a to b
Process
128
GLOMUS Camp 2013 establishes a prepatory group of e.g. 6 members (3
north, 3 south)
Group works and meets on it-based media during 2013
In person meeting winter 2013/14 to finalise work
Terms of reference could include the following:
Terms of reference (In respect of where we are today, remembering to
”KEEP IT SIMPLE”)
Formulating an organisational structure (network, association or what??)
Formulating Vision, Mission and Strategic goals Formulating a
Charter/Credo
Establishing a GLOMUS secretariat, including running and further
development of website
Including new members – how?
How to activate and commit member institutions on institutional, staff and
student levels.
How to further include drama and dance Activities, Funding
129
Glomus Vision
GLOMUS is a global network for higher education in the performing arts
with member institutions from all continents.
Glomus Mission
The GLOMUS network aims to develop collaborative projects to enhance:
Intercultural communication Knowledge sharing
Capacity building and organizational development
Artistic interaction for mutual inspiration and innovation
Strategic goals
To create a sustainable network based platform for cross‐cultural activities
To support cultural diversity in performance and education
To make cultures meet through events, exchanges (students, teachers,
staff), workshops, online platform, educational development
To support research in the field of Global Performing arts
Editors note: The above-mentioned preparatory group was expanded to seven
members and appointed as follows:
Thomas Rector/Keld Hosbond (Denmark), Tuovi Martinsen (Finland), Eva
Saether (Sweden), Awo Mana Asiedu (Ghana), Randy Stubbs (Tanzania),
Mohammed Awad (Palestine), and Ramona Mohd Dahir (Malaysia)
130
Global Choir Songs
Eva Kundek, Malmö Academy of Music, University of Lund, Sweden
See video links at www.glomus.net for the Global Choir and for the
GLOMUS Orchestra
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ISBN xxxxxxxxxxxxxx

Global Music and Culture: Intersections and Inclusion

Transcription

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