Vocal music teaching-learning practices in contemporary South African theatre : a case study

Abstract

This instrumental case study investigates the vocal music teaching-learning practices (TLPs) and experiences of selected performing arts graduates who are members of the South African Theatre Village (SATV) Company. Data was gathered by means of personal interviews and observations during rehearsals for the production Flak my son (2018) as well as literature related to historical and contemporary South African dramatic performance practices and institutional vocal music TLPs at Tshwane University of Technology. Three themes emerged from the case study, namely lived experiences and practices of extracurricular musicing, institutional vocal music TLPs, and SATV vocal music TLPs. Theme one involves vocal musical TLPs in various community institutions, especially home, church and school. It also accounts for the influence of mass media. Theme two in turn integrates personal and group experiences of vocal music TLPs in programmes and coursework productions at TUT. Theme three concerns the strategies and techniques of vocal music TLPs in the SATV production Flak my son (2018). Participants’ experiences point to a combination of structured, technical outcomes-based Western practices and oral performance practices involving continuous, practical social learning. Singing as play and work emerges as essential sub-categories. The former involves a strong sense of communal identity as well as emotional and spiritual engagement. Work-singing, in contrast, involves unfamiliar technical requirements. It is perceived as restrictive and as inducing vulnerability and lack of confidence. Wenger’s Community of Practice (CoP) perspective on social learning and play provides an analytical framework to conceptualise the vocal TLPs of the SATV. The consequent integration of oral TLPs and the norms of CoP and play offer a strategy for more effective teaching-learning in tertiary educational environments.