Creative thinking in Africa: tensions through change

Research on creativity is a relatively recent phenomenon in Africa. Following the many changes that have impacted upon Africa in the past century, tensions have emerged between traditional and contemporary interpretations of creativity. This article will reflect on some common indigenous views of creativity, particularly in music and dance in sub-Saharan Africa. The traditional authoritarian style of schooling, brought to Africa by various colonial administrations, caused distortion in predominant values in African cultures. Authoritarian teaching did not encourage creativity, questioning or deviation from the norm, and has had a devastating impact on intellectual, artistic and practical creativity across the continent. Currently, sites of contestation lie in the demands of ‘new’ education. This article explores ways in which creative music and dance navigate the currents that surround the encounters between indigenous traditions and the contrasts of post-colonial innovation. The uncertainties engendered by such encounters are factors that currently limit maximum creative development on the continent.Journal of the Musical Arts in Africa, Volume 9 2012, 23–3

Music as instrument of diversity and unity : notes on a Namibian landscape

This report explores the interface between recent socio-political changes in Namibia, and the way they are reflected in emergent musical practices and identities within the country. The potential tension between unity and diversity is investigated within musical landscapes in traditional and contemporary frames. Sadly, diversity is often seen to be the precursor of divisiveness rather than a product of human creativity and ingenuity. Based on a decade of field research undertaken mainly in the north and central areas of Namibia since 1993, this report poses questions about fundamental purposes of music-making, and the conscious response of people to the contemporary Namibian socio-political situation. It provides a broad overview of music emanating from different cultural practices in Namibia, and relates this to the State's political strategies for ensuring unity and nation-building through policy-making, education and broadcast media. The changes that occur in musical practices are seen as strategic cultural choices and ongoing identity-formation.CONTENTS -- The musical landscape-bands of unity and rhythms of diversity -- A musician's perspective on Namibian statehood and budding nationhood -- Political (con)texts in music -- Strategies for nation-building in the cultural sphere -- Musical expericences of continuity and change -- As a final

Namibian music and dance as ngoma in arts education.

Thesis (Ph.D.)-University of Natal, Durban, 1997.The aim of this thesis is to explore Namibian music and dance, to gain understanding of the character of different practices and through this, to provide teachers and learners in schools with materials suitable for use in the new arts curriculum in Namibia. In order to motivate the need for indigenous cultural materials, a brief historical background to Namibian arts education is sketched, highlighting the effects of colonialism on cultural identity and the separation of music from dance in education. In gathering examples of indigenous music and dance it became clear that for these practices to retain a measure of integrity in schools, new ways of thinking about performance in schools would be required. This leads to a discussion of an approach summarised within the term ngoma, which refers to holism, communality and orality among other things. It is suggested that music/dance as ngoma has a positive contribution to make to Namibian arts education. To support this suggestion in a practical way, I explore the indigenous traditions used to educate and socialise young people. Argumentation follows regarding possibilities of preparing teaching-learning materials in a manner appropriate to Namibian circumstances. A breakdown of diverse characteristics of indigenous music and dance is done in order to help the teacher identify and comprehend the individual characters of Namibian performances. In this way teachers should be better prepared to utilise the examples of music/dance events that follow. Various events are contextualised, described, transcribed and analysed with suggestions for use in the classroom. Finally the ngoma approach, the principles of Basic Education in Namibia, and the new arts syllabi are brought together by investigating some of the possibilities of music and dance as ngoma in schools

The Changing Faces of Aawambo Musical Arts

How does a peoples music reflect their history, their occupations, cultural beliefs and values? These are the core questions that this book addresses in relation to the Aawambo people of Namibia. The author, herself born and bred in Namibia, brings to the fore the nuanced views of different people, describing their personal musical experiences past as well as present. This is the first time that the music and stories of contemporary Namibian musicians is shared alongside those of the elderly. Similarly, it is the first time that some of the traditional Aawambo dances are analysed and described, abundantly illustrated with colourful photographs and several songs. Based on years of personal research, this book will appeal to research scholars, students and other interested readers alike, since its style is accessible but detailed, personal yet objective. Recommended for all those interested in culture, anthropology, the arts, and Namibian studies