The meanings of inclusive and exclusive choir practices in selected junior secondary schools in Zambia

Abstract

The purpose of this qualitative multiple case study was to explore the meanings choristers, conductors and school administrators, in four selected junior secondary schools in Lusaka and the Copperbelt provinces of Zambia, ascribe to participation in inclusive and exclusive choir practices. Competitive performance is conventionally linked with “talent” and it is geared towards performance excellence and institutional prestige. However, it is often socially exclusive, and its ethics and educational values are consequently questioned. Non-competitive performance in turn is inclusive, as it is motivated by the notion of music as an innate, universal mode of expression that creates supportive social networks. However, it may not live up to the standards of excellence that are valued in competitive performance. This study investigated these two apparent extremes that are, in reality, part of a continuum. This research utilises the notion of “communities of practice” (Wenger, 1998:70–73) and specifically “communities of musical practice” (Kenny, 2016:130–133, 165–170) as its theoretical bases. I investigated four cases, each a secondary school choir with four choristers per choir (two boys and two girls), one conductor per choir and one administrator per school. I used multiple methods of data collection, including observations, documents as well as semi-structured and open-ended interviews. I used thematic data analysis to organise and code the collected data by arranging the participants’ interview transcripts into hermeneutic units that could easily be accessed. I used the ATLAS.ti 9 data analysis software program to facilitate coding. The findings emerging from the data of this study include three major themes: inclusivity and exclusivity, intrinsic motivation, and extrinsic motivation. Participants’ narratives were mainly focused on intrinsically motivated activities and extrinsically motivated activities in choral practice. Inclusion and inclusivity categories include non-competitive church choral musicing, victory for everyone, participation through playing instruments and dancing, and a haven of refuge and comfort. The categories for exclusion and exclusivity are school music exclusion practices, exclusivity and general

education goals, and exclusivity in musical style or genres. Issues in intrinsic motivation were discussed under the following categories: choral festivals, benefits of participation, urge from within, conductor’s role and recruitment. Extrinsic motivation was discussed under the following categories: acknowledging accomplishments, visibility and publicity, losing as extrinsic motivation and choral competitions This topic is of great significance to music education and choral practice generally, as its findings will inform decisions that choral music educators make. Implications for practice might include revisiting the whole structure of competitions and other activities in school choral practice and rethinking the value of these activities