MUSIC 2MT3 Lecture 9: Lecture 9
18 Jun 2018
School
Department
Course
Professor
What is Culture?
Culture is a notoriously difficulty term to define.
-
American anthropologist, Kroeber and Kluckhohn, critically reviewed concepts
and definitions of culture, and compiled a list of 164 different definitions.
-
Apte, writing in the ten-volume Encyclopedia of Language and Linguistics,
summarized the problem as follows:
"Despite a century of efforts to define culture adequately, there was in
the early 1990s no agreement among anthropologists regarding its
nature'"
○
-
"Culture is that complex whole which includes knowledge, belief, art, morals,
law, custom, and any other capabilities and habits acquired by man as a
member of society." - Tyler (British anthropologist)
-
"Culture consists of patterns, explicit and implicit, of and for behaviour acquired
and transmitted by symbols, constituting the distinctive achievements of
human groups, including their embodiment in artificats; the essential core of
culture consists of traditional (i.e., historically derived and selected) ideas and
especially their attached values; culture systems may, on the one hand, be
considered as products of action, on the other, as conditional elements of
future action." - Kroeber and Kluckhohn.
-
"Culture consists of the derivatives of experience, more or less organized,
learned or created by the individuals of a population, including those images or
encodements and their interpretations transmitted from past generations, from
contemporaries, or formed by individuals themselves." - T. Schwartz
-
"Culture is the collective programming of the mind which distinguishes the
members of one group or category of people from another." - Hofstede
-
"… the set of attitudes, values, beliefs, and behaviours shared by a group of
people, but different for each individual, communicated from one generation
to the next." - Matsumoto
-
"Culture is a fuzzy set of basic assumptions and values, orientations to life,
beliefs, policies, procedures and behavioural conventions that are shared by a
group of people, and that influence (but do not determine) each member's
behaviour and his/her interpretations of the "meaning" of other people's
behaviour" - Spencer-Oatey
-
Music Therapy and Culture
Can music therapists work with all people regardless of differences of culture?
They must first identify if culture poses a problem to their therapeutic
process.
○
Community music therapy challenges traditional boundaries and
definitions of music therapy. It takes seriously how culture informs our
ways of perceiving therapeutic needs, it seeks to develop new
perspectives, role identities and ways of doing music therapy.
○
-
MTs in the 70s had the idea how music might become an important factor in
social change (see Ruud, 1988). Today, we are witnessing how music therapists
are crossing the boundaries between "therapy" and "community music
making".
We can see how music therapy takes part in reclaiming some of the
original functions of music in our culture.
○
-
Community Music Therapy
"Community music therapy" is gradually evolving in the field of music therapy.
-
It is a way of doing and thinking about music therapy where the larger cultural,
institutional and social context is taken into consideration.
-
The approach involves an awareness of the system music therapists are working
within, it means that music therapy is not only directed towards the individual,
but often aimed at changing the system that is sometimes part of the situation
of the client.
-
Even Ruud
-
Music Therapy Community Clinic (MTTC) Paper
Not-for-profit, founded in 2003, 2 MTs.
-
Aims to provide MT to disadvantaged communities in Cape Town, SA (and
music making).
-
Issues in the townships: poverty, unemployment, gang violence, HIV, AIDS --
fragmentation and disintegration of many communities.
Wanted to give the children in the community the opportunity to
participate in something helpful.
○
-
Employs 4 MTs, 4 community musicians, 5 projects.
Culturally, the white women starting the groups didn't share the same
experiences as the children so they didn't have the knowledge to do what
needed to be done.
○
They recognized this limitation and reached out to local musicians and
asked to partner with them in the music therapy groups - musicians
would facilitate the music and the music therapists would facilitate the
process.
○
Importance of collaboration and negotiation
○
-
Created the Music for Life Project (MFL) - after school music activities outside of
MT (reach more kids) - 2007.
-
Broader Aim - keep kids off of the streets - providing a socially healthy
alternative to gang violence that was open to all.
-
Highlighted the importance of collaboration and negotiation.
musician = group leader, MT = support, facilitating
○
-
Heideveld
1960s forcibly move from inner city Cape Town
-
Violence, gangs (usually join at age 12) - created a sense of belonging for young
people.
-
Young people, children witness horrific acts of violence.
-
Project: Heideveld & Nyanga Township
Started MT at a school in Heideveld in 2003.
-
Weekly group/individual MT sessions.
-
Referrals from teachers (from all 9 schools in the area).
-
Children who have been abused, lost family members, parents in jail.
-
Led to realization of a need for after-school positive social group experiences
(e.g., music groups) - developed MFL.
-
Heideveld MFL
Large interest from children and local musicians.
-
Choir had 80 members (2 MTs)
-
2 drumming circles (led by drummer)
-
Marimba group (musician)
-
Rap group (well-known musician, Mr. Fat)
-
MT Program - Nyagna (2006)
At Etafeni - centre offering support and resources to women and children
affected or infected by HIV/AIDS
-
Western Cape had the highest murder rate, highest mortality rate (due to AIDs),
highest reported cases of rape.
-
MFL better suited than MT referral-based programs, rather than isolating needy
individuals further (provides purpose/belonging).
In the referral-based programs, children who were referred by teachers
or guardians were labelled by their peers, further isolating them in some
cases.
○
-
Healthy relationships
-
Nyanga - MFL project
Africa Music Group (musicians), gum boot dancing, drumming, singing, playing
the marimba.
-
All co-facilitated or supervised by a MT.
-
A few things came to light …
The music therapists did need to be a part of it because the musicians
were very focused on the product rather than the therapeutic goals.
○
Therapists were cognizant of this and directed the musicians away from
this "teaching" attitude.
○
Music therapist would give feedback to the musicians and the musicians
would give feedback to the music therapists - learning all around.
○
The musicians were all males without male role models - mostly women
around to raise children, men who were around were involved in the
illegal activity.
To have positive male role models for the kids was very important.
§
○
-
Process and social outcomes goal; shifting the social lens and imparting change
The kids saw other choices outside of gang lifestyles.
○
And others were able to see the value in the kids - they saw them as more
than just being destined for gang life.
○
-
Musical ability was not a prerequisite.
-
Logistics of collaborating resources for meeting the large need of the children in
these communities (as seen by response to the choir in Heideveld).
-
Was this the best use of resources? Does it make sense to mix music therapists
and musicians?
Yes, it was absolutely the best use of resources despite the expenses.
○
You could not have achieved these outcomes without the resources.
○
MTs needed the cultural knowledge and rapport brought by the
musicians and the musicians needed the guidance of the MTs to maintain
a meaningful relationship with the children in the music.
○
-
Must Watch: https://www.youtube.com/watch?v=PU8PgJrSr70
Interviews from Musicians and MTs
Musicians provided cultural knowledge -- empowering cultural identity.
-
Local musician, a black Xhosa man - his role moves beyond teaching music
skills.
Opportunity to reconnect with traditional Xhosa music, cultural
knowledge and values.
○
Provides a positive male figure for the kids, one that the white, female
MTs wouldn't have been able to provide.
○
-
Culture/Identity
Townships form a melting pot of influences from different generations and
cultures
-
Culture is not a static entity
-
Creating a new culture that allows traditional values and more contemporary
norms to live side by side.
-
Musicing can reproduce legacy of another and allow the performance of the
self.
-
Empowerment - highlighting role as active agents in development of their
culture/community.
-
Locally trained musicians - MTs not masters of cultural music and they were
smart enough to recognize that.
-
MTs learned cultural music, but Western "ear" difficult to hear/catch/replicate
polyrhythms, harmonic structures, melodies/language.
-
Male presence provides role modes for young children (most men in their lives
were not around. E.g., death by gangs or aids, jail, travel for employment, just
gone)
-
Mothers/grandmothers raised children.
-
MTs all were women in the program.
-
Mr Fat was admired and esteemed and he grew up in a similar community.
-
Rap used to describe and express their lives while offering hope of alternative
choices to gangs.
-
Role of MT
Observing behaviours, dynamics, difficult situations.
-
Knowing the kids, providing guidance to the kids and the musicians.
-
Identifying individual needs within the group dynamic.
-
Maintaining group dynamic, cohesion, strength.
-
Helping members learn skills that will help them outside of the music group
(connecting with teachers, family and arranging performance opportunities)
-
MTCC Workshops
MT techniques
-
Sensibility to children/adolescents
-
Goals MFL
-
Outcomes of Music Therapy in this Research
Importance of collaboration
-
Cultural awareness
-
Aesthetic music therapy
-
Psychotherapy (?)
-
Community music therapy
-
Male role models
-
Social change - additional options to gangs
-
Self-identity formation
-
Overview
Goal
Letting music be the tool to empower people and bring together the
community
○
-
Approach
Nordoff-Robbins because it's quite music-centred.
○
-
Interventions
Varied - improvising, playing, listening, composing, etc.
○
-
Data collected
See article
○
-
Community Music Therapy
Community music therapy has many definitions
-
For the purpose of this course, as exemplified in the 5 Dimension and South
Africa papers community music therapy is impacting social change.
Think about how each of these papers impact social change.
○
-
Lecture 9: Collaborative Work (Negotiations
between MTs and Community Musicians in the
Development of SA Community MT Project)
Tuesday, June 5, 2018
1:53 PM
What is Culture?
Culture is a notoriously difficulty term to define.
-
American anthropologist, Kroeber and Kluckhohn, critically reviewed concepts
and definitions of culture, and compiled a list of 164 different definitions.
-
Apte, writing in the ten-volume Encyclopedia of Language and Linguistics,
summarized the problem as follows:
"Despite a century of efforts to define culture adequately, there was in
the early 1990s no agreement among anthropologists regarding its
nature'"
○
-
"Culture is that complex whole which includes knowledge, belief, art, morals,
law, custom, and any other capabilities and habits acquired by man as a
member of society." - Tyler (British anthropologist)
-
"Culture consists of patterns, explicit and implicit, of and for behaviour acquired
and transmitted by symbols, constituting the distinctive achievements of
human groups, including their embodiment in artificats; the essential core of
culture consists of traditional (i.e., historically derived and selected) ideas and
especially their attached values; culture systems may, on the one hand, be
considered as products of action, on the other, as conditional elements of
future action." - Kroeber and Kluckhohn.
-
"Culture consists of the derivatives of experience, more or less organized,
learned or created by the individuals of a population, including those images or
encodements and their interpretations transmitted from past generations, from
contemporaries, or formed by individuals themselves." - T. Schwartz
-
"Culture is the collective programming of the mind which distinguishes the
members of one group or category of people from another." - Hofstede
-
"… the set of attitudes, values, beliefs, and behaviours shared by a group of
people, but different for each individual, communicated from one generation
to the next." - Matsumoto
-
"Culture is a fuzzy set of basic assumptions and values, orientations to life,
beliefs, policies, procedures and behavioural conventions that are shared by a
group of people, and that influence (but do not determine) each member's
behaviour and his/her interpretations of the "meaning" of other people's
behaviour" - Spencer-Oatey
-
Music Therapy and Culture
Can music therapists work with all people regardless of differences of culture?
They must first identify if culture poses a problem to their therapeutic
process.
○
Community music therapy challenges traditional boundaries and
definitions of music therapy. It takes seriously how culture informs our
ways of perceiving therapeutic needs, it seeks to develop new
perspectives, role identities and ways of doing music therapy.
○
-
MTs in the 70s had the idea how music might become an important factor in
social change (see Ruud, 1988). Today, we are witnessing how music therapists
are crossing the boundaries between "therapy" and "community music
making".
We can see how music therapy takes part in reclaiming some of the
original functions of music in our culture.
○
-
Community Music Therapy
"Community music therapy" is gradually evolving in the field of music therapy.
-
It is a way of doing and thinking about music therapy where the larger cultural,
institutional and social context is taken into consideration.
-
The approach involves an awareness of the system music therapists are working
within, it means that music therapy is not only directed towards the individual,
but often aimed at changing the system that is sometimes part of the situation
of the client.
-
Even Ruud
-
Music Therapy Community Clinic (MTTC) Paper
Not-for-profit, founded in 2003, 2 MTs.
-
Aims to provide MT to disadvantaged communities in Cape Town, SA (and
music making).
-
Issues in the townships: poverty, unemployment, gang violence, HIV, AIDS --
fragmentation and disintegration of many communities.
Wanted to give the children in the community the opportunity to
participate in something helpful.
○
-
Employs 4 MTs, 4 community musicians, 5 projects.
Culturally, the white women starting the groups didn't share the same
experiences as the children so they didn't have the knowledge to do what
needed to be done.
○
They recognized this limitation and reached out to local musicians and
asked to partner with them in the music therapy groups - musicians
would facilitate the music and the music therapists would facilitate the
process.
○
Importance of collaboration and negotiation
○
-
Created the Music for Life Project (MFL) - after school music activities outside of
MT (reach more kids) - 2007.
-
Broader Aim - keep kids off of the streets - providing a socially healthy
alternative to gang violence that was open to all.
-
Highlighted the importance of collaboration and negotiation.
musician = group leader, MT = support, facilitating
○
-
Heideveld
1960s forcibly move from inner city Cape Town
-
Violence, gangs (usually join at age 12) - created a sense of belonging for young
people.
-
Young people, children witness horrific acts of violence.
-
Project: Heideveld & Nyanga Township
Started MT at a school in Heideveld in 2003.
-
Weekly group/individual MT sessions.
-
Referrals from teachers (from all 9 schools in the area).
-
Children who have been abused, lost family members, parents in jail.
-
Led to realization of a need for after-school positive social group experiences
(e.g., music groups) - developed MFL.
-
Heideveld MFL
Large interest from children and local musicians.
-
Choir had 80 members (2 MTs)
-
2 drumming circles (led by drummer)
-
Marimba group (musician)
-
Rap group (well-known musician, Mr. Fat)
-
MT Program - Nyagna (2006)
At Etafeni - centre offering support and resources to women and children
affected or infected by HIV/AIDS
-
Western Cape had the highest murder rate, highest mortality rate (due to AIDs),
highest reported cases of rape.
-
MFL better suited than MT referral-based programs, rather than isolating needy
individuals further (provides purpose/belonging).
In the referral-based programs, children who were referred by teachers
or guardians were labelled by their peers, further isolating them in some
cases.
○
-
Healthy relationships
-
Nyanga - MFL project
Africa Music Group (musicians), gum boot dancing, drumming, singing, playing
the marimba.
-
All co-facilitated or supervised by a MT.
-
A few things came to light …
The music therapists did need to be a part of it because the musicians
were very focused on the product rather than the therapeutic goals.
○
Therapists were cognizant of this and directed the musicians away from
this "teaching" attitude.
○
Music therapist would give feedback to the musicians and the musicians
would give feedback to the music therapists - learning all around.
○
The musicians were all males without male role models - mostly women
around to raise children, men who were around were involved in the
illegal activity.
To have positive male role models for the kids was very important.
§
○
-
Process and social outcomes goal; shifting the social lens and imparting change
The kids saw other choices outside of gang lifestyles.
○
And others were able to see the value in the kids - they saw them as more
than just being destined for gang life.
○
-
Musical ability was not a prerequisite.
-
Logistics of collaborating resources for meeting the large need of the children in
these communities (as seen by response to the choir in Heideveld).
-
Was this the best use of resources? Does it make sense to mix music therapists
and musicians?
Yes, it was absolutely the best use of resources despite the expenses.
○
You could not have achieved these outcomes without the resources.
○
MTs needed the cultural knowledge and rapport brought by the
musicians and the musicians needed the guidance of the MTs to maintain
a meaningful relationship with the children in the music.
○
-
Must Watch: https://www.youtube.com/watch?v=PU8PgJrSr70
Interviews from Musicians and MTs
Musicians provided cultural knowledge -- empowering cultural identity.
-
Local musician, a black Xhosa man - his role moves beyond teaching music
skills.
Opportunity to reconnect with traditional Xhosa music, cultural
knowledge and values.
○
Provides a positive male figure for the kids, one that the white, female
MTs wouldn't have been able to provide.
○
-
Culture/Identity
Townships form a melting pot of influences from different generations and
cultures
-
Culture is not a static entity
-
Creating a new culture that allows traditional values and more contemporary
norms to live side by side.
-
Musicing can reproduce legacy of another and allow the performance of the
self.
-
Empowerment - highlighting role as active agents in development of their
culture/community.
-
Locally trained musicians - MTs not masters of cultural music and they were
smart enough to recognize that.
-
MTs learned cultural music, but Western "ear" difficult to hear/catch/replicate
polyrhythms, harmonic structures, melodies/language.
-
Male presence provides role modes for young children (most men in their lives
were not around. E.g., death by gangs or aids, jail, travel for employment, just
gone)
-
Mothers/grandmothers raised children.
-
MTs all were women in the program.
-
Mr Fat was admired and esteemed and he grew up in a similar community.
-
Rap used to describe and express their lives while offering hope of alternative
choices to gangs.
-
Role of MT
Observing behaviours, dynamics, difficult situations.
-
Knowing the kids, providing guidance to the kids and the musicians.
-
Identifying individual needs within the group dynamic.
-
Maintaining group dynamic, cohesion, strength.
-
Helping members learn skills that will help them outside of the music group
(connecting with teachers, family and arranging performance opportunities)
-
MTCC Workshops
MT techniques
-
Sensibility to children/adolescents
-
Goals MFL
-
Outcomes of Music Therapy in this Research
Importance of collaboration
-
Cultural awareness
-
Aesthetic music therapy
-
Psychotherapy (?)
-
Community music therapy
-
Male role models
-
Social change - additional options to gangs
-
Self-identity formation
-
Overview
Goal
Letting music be the tool to empower people and bring together the
community
○
-
Approach
Nordoff-Robbins because it's quite music-centred.
○
-
Interventions
Varied - improvising, playing, listening, composing, etc.
○
-
Data collected
See article
○
-
Community Music Therapy
Community music therapy has many definitions
-
For the purpose of this course, as exemplified in the 5 Dimension and South
Africa papers community music therapy is impacting social change.
Think about how each of these papers impact social change.
○
-
Lecture 9: Collaborative Work (Negotiations
between MTs and Community Musicians in the
Development of SA Community MT Project)
Tuesday, June 5, 2018
1:53 PM
What is Culture?
Culture is a notoriously difficulty term to define.
-
American anthropologist, Kroeber and Kluckhohn, critically reviewed concepts
and definitions of culture, and compiled a list of 164 different definitions.
-
Apte, writing in the ten-volume Encyclopedia of Language and Linguistics,
summarized the problem as follows:
"Despite a century of efforts to define culture adequately, there was in
the early 1990s no agreement among anthropologists regarding its
nature'"
○
-
"Culture is that complex whole which includes knowledge, belief, art, morals,
law, custom, and any other capabilities and habits acquired by man as a
member of society." - Tyler (British anthropologist)
-
"Culture consists of patterns, explicit and implicit, of and for behaviour acquired
and transmitted by symbols, constituting the distinctive achievements of
human groups, including their embodiment in artificats; the essential core of
culture consists of traditional (i.e., historically derived and selected) ideas and
especially their attached values; culture systems may, on the one hand, be
considered as products of action, on the other, as conditional elements of
future action." - Kroeber and Kluckhohn.
-
"Culture consists of the derivatives of experience, more or less organized,
learned or created by the individuals of a population, including those images or
encodements and their interpretations transmitted from past generations, from
contemporaries, or formed by individuals themselves." - T. Schwartz
-
"Culture is the collective programming of the mind which distinguishes the
members of one group or category of people from another." - Hofstede
-
"… the set of attitudes, values, beliefs, and behaviours shared by a group of
people, but different for each individual, communicated from one generation
to the next." - Matsumoto
-
"Culture is a fuzzy set of basic assumptions and values, orientations to life,
beliefs, policies, procedures and behavioural conventions that are shared by a
group of people, and that influence (but do not determine) each member's
behaviour and his/her interpretations of the "meaning" of other people's
behaviour" - Spencer-Oatey
-
Music Therapy and Culture
Can music therapists work with all people regardless of differences of culture?
They must first identify if culture poses a problem to their therapeutic
process.
○
Community music therapy challenges traditional boundaries and
definitions of music therapy. It takes seriously how culture informs our
ways of perceiving therapeutic needs, it seeks to develop new
perspectives, role identities and ways of doing music therapy.
○
-
MTs in the 70s had the idea how music might become an important factor in
social change (see Ruud, 1988). Today, we are witnessing how music therapists
are crossing the boundaries between "therapy" and "community music
making".
We can see how music therapy takes part in reclaiming some of the
original functions of music in our culture.
○
-
Community Music Therapy
"Community music therapy" is gradually evolving in the field of music therapy.
-
It is a way of doing and thinking about music therapy where the larger cultural,
institutional and social context is taken into consideration.
-
The approach involves an awareness of the system music therapists are working
within, it means that music therapy is not only directed towards the individual,
but often aimed at changing the system that is sometimes part of the situation
of the client.
-
Even Ruud
-
Music Therapy Community Clinic (MTTC) Paper
Not-for-profit, founded in 2003, 2 MTs.
-
Aims to provide MT to disadvantaged communities in Cape Town, SA (and
music making).
-
Issues in the townships: poverty, unemployment, gang violence, HIV, AIDS --
fragmentation and disintegration of many communities.
Wanted to give the children in the community the opportunity to
participate in something helpful.
○
-
Employs 4 MTs, 4 community musicians, 5 projects.
Culturally, the white women starting the groups didn't share the same
experiences as the children so they didn't have the knowledge to do what
needed to be done.
○
They recognized this limitation and reached out to local musicians and
asked to partner with them in the music therapy groups - musicians
would facilitate the music and the music therapists would facilitate the
process.
○
Importance of collaboration and negotiation
○
-
Created the Music for Life Project (MFL) - after school music activities outside of
MT (reach more kids) - 2007.
-
Broader Aim - keep kids off of the streets - providing a socially healthy
alternative to gang violence that was open to all.
-
Highlighted the importance of collaboration and negotiation.
musician = group leader, MT = support, facilitating
○
-
Heideveld
1960s forcibly move from inner city Cape Town
-
Violence, gangs (usually join at age 12) - created a sense of belonging for young
people.
-
Young people, children witness horrific acts of violence.
-
Project: Heideveld & Nyanga Township
Started MT at a school in Heideveld in 2003.
-
Weekly group/individual MT sessions.
-
Referrals from teachers (from all 9 schools in the area).
-
Children who have been abused, lost family members, parents in jail.
-
Led to realization of a need for after-school positive social group experiences
(e.g., music groups) - developed MFL.
-
Heideveld MFL
Large interest from children and local musicians.
-
Choir had 80 members (2 MTs)
-
2 drumming circles (led by drummer)
-
Marimba group (musician)
-
Rap group (well-known musician, Mr. Fat)
-
MT Program - Nyagna (2006)
At Etafeni - centre offering support and resources to women and children
affected or infected by HIV/AIDS
-
Western Cape had the highest murder rate, highest mortality rate (due to AIDs),
highest reported cases of rape.
-
MFL better suited than MT referral-based programs, rather than isolating needy
individuals further (provides purpose/belonging).
In the referral-based programs, children who were referred by teachers
or guardians were labelled by their peers, further isolating them in some
cases.
○
-
Healthy relationships
-
Nyanga - MFL project
Africa Music Group (musicians), gum boot dancing, drumming, singing, playing
the marimba.
-
All co-facilitated or supervised by a MT.
-
A few things came to light …
The music therapists did need to be a part of it because the musicians
were very focused on the product rather than the therapeutic goals.
○
Therapists were cognizant of this and directed the musicians away from
this "teaching" attitude.
○
Music therapist would give feedback to the musicians and the musicians
would give feedback to the music therapists - learning all around.
○
The musicians were all males without male role models - mostly women
around to raise children, men who were around were involved in the
illegal activity.
To have positive male role models for the kids was very important.
§
○
-
Process and social outcomes goal; shifting the social lens and imparting change
The kids saw other choices outside of gang lifestyles.
○
And others were able to see the value in the kids - they saw them as more
than just being destined for gang life.
○
-
Musical ability was not a prerequisite.
-
Logistics of collaborating resources for meeting the large need of the children in
these communities (as seen by response to the choir in Heideveld).
-
Was this the best use of resources? Does it make sense to mix music therapists
and musicians?
Yes, it was absolutely the best use of resources despite the expenses.
○
You could not have achieved these outcomes without the resources.
○
MTs needed the cultural knowledge and rapport brought by the
musicians and the musicians needed the guidance of the MTs to maintain
a meaningful relationship with the children in the music.
○
-
Must Watch: https://www.youtube.com/watch?v=PU8PgJrSr70
Interviews from Musicians and MTs
Musicians provided cultural knowledge -- empowering cultural identity.
-
Local musician, a black Xhosa man - his role moves beyond teaching music
skills.
Opportunity to reconnect with traditional Xhosa music, cultural
knowledge and values.
○
Provides a positive male figure for the kids, one that the white, female
MTs wouldn't have been able to provide.
○
-
Culture/Identity
Townships form a melting pot of influences from different generations and
cultures
-
Culture is not a static entity
-
Creating a new culture that allows traditional values and more contemporary
norms to live side by side.
-
Musicing can reproduce legacy of another and allow the performance of the
self.
-
Empowerment - highlighting role as active agents in development of their
culture/community.
-
Locally trained musicians - MTs not masters of cultural music and they were
smart enough to recognize that.
-
MTs learned cultural music, but Western "ear" difficult to hear/catch/replicate
polyrhythms, harmonic structures, melodies/language.
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Male presence provides role modes for young children (most men in their lives
were not around. E.g., death by gangs or aids, jail, travel for employment, just
gone)
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Mothers/grandmothers raised children.
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MTs all were women in the program.
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Mr Fat was admired and esteemed and he grew up in a similar community.
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Rap used to describe and express their lives while offering hope of alternative
choices to gangs.
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Role of MT
Observing behaviours, dynamics, difficult situations.
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Knowing the kids, providing guidance to the kids and the musicians.
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Identifying individual needs within the group dynamic.
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Maintaining group dynamic, cohesion, strength.
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Helping members learn skills that will help them outside of the music group
(connecting with teachers, family and arranging performance opportunities)
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MTCC Workshops
MT techniques
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Sensibility to children/adolescents
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Goals MFL
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Outcomes of Music Therapy in this Research
Importance of collaboration
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Cultural awareness
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Aesthetic music therapy
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Psychotherapy (?)
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Community music therapy
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Male role models
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Social change - additional options to gangs
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Self-identity formation
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Overview
Goal
Letting music be the tool to empower people and bring together the
community
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Approach
Nordoff-Robbins because it's quite music-centred.
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Interventions
Varied - improvising, playing, listening, composing, etc.
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Data collected
See article
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Community Music Therapy
Community music therapy has many definitions
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For the purpose of this course, as exemplified in the 5 Dimension and South
Africa papers community music therapy is impacting social change.
Think about how each of these papers impact social change.
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Lecture 9: Collaborative Work (Negotiations
between MTs and Community Musicians in the
Development of SA Community MT Project)
Tuesday, June 5, 2018 1:53 PM
