Beyond mastery: jazz, gender and power in postapartheid South Africa
- Authors: Williams, Ulagh
- Date: 2023-10-13
- Subjects: Uncatalogued
- Language: English
- Type: Academic theses , Doctoral theses , text
- Identifier: http://hdl.handle.net/10962/432505 , vital:72876 , DOI 10.21504/10962/432512
- Description: This dissertation studies the musical lives of seven South African women who have built highprofile national and international careers as jazz musicians. Empirically it records self-reported experiences and actions that they have identified as relevant to their success within a notoriously patriarchal field. Drawing on feminist research methods and Interpretative Phenomenological Analysis the dissertation strives to develop an empathic yet critical epistemological framework attuned to the complexities of their lived experiences as women and as jazz musicians. Theoretically it investigates the power relations at play in the myriad ways they negotiate or have been impelled to negotiate gender and patriarchy as musicians. Chapter one draws attention to the ubiquity of patriarchy in South African and international jazz culture, and highlights the research participants’ numerous successes to date as performers, educators, composers, and bandleaders. Chapter two positions this study in relation to cognate work in South African jazz studies, international feminist jazz studies and feminist phenomenology. Chapters three to five successively consider the participants’ early enculturation as musical and gendered subjects, their agentic responses to structures of patriarchy and/or race as emerging and established professionals, and the ways these experiences have found expression in some of their musical utterances as performers and composers. Fusing art and activism, the participants challenge and transcend masculinist discourses of mastery that still dominate South African jazz as a field of production and aesthetic practice. , Thesis (PhD) -- Faculty of Humanities, Music and Musicology, 2023
- Full Text:
- Authors: Williams, Ulagh
- Date: 2023-10-13
- Subjects: Uncatalogued
- Language: English
- Type: Academic theses , Doctoral theses , text
- Identifier: http://hdl.handle.net/10962/432505 , vital:72876 , DOI 10.21504/10962/432512
- Description: This dissertation studies the musical lives of seven South African women who have built highprofile national and international careers as jazz musicians. Empirically it records self-reported experiences and actions that they have identified as relevant to their success within a notoriously patriarchal field. Drawing on feminist research methods and Interpretative Phenomenological Analysis the dissertation strives to develop an empathic yet critical epistemological framework attuned to the complexities of their lived experiences as women and as jazz musicians. Theoretically it investigates the power relations at play in the myriad ways they negotiate or have been impelled to negotiate gender and patriarchy as musicians. Chapter one draws attention to the ubiquity of patriarchy in South African and international jazz culture, and highlights the research participants’ numerous successes to date as performers, educators, composers, and bandleaders. Chapter two positions this study in relation to cognate work in South African jazz studies, international feminist jazz studies and feminist phenomenology. Chapters three to five successively consider the participants’ early enculturation as musical and gendered subjects, their agentic responses to structures of patriarchy and/or race as emerging and established professionals, and the ways these experiences have found expression in some of their musical utterances as performers and composers. Fusing art and activism, the participants challenge and transcend masculinist discourses of mastery that still dominate South African jazz as a field of production and aesthetic practice. , Thesis (PhD) -- Faculty of Humanities, Music and Musicology, 2023
- Full Text:
Jazz pedagogical strategies: an A/R/Tographic investigation into the implementation of the South African jazz CAPS syllabus
- Authors: Rungan, Natalie
- Date: 2023-10-13
- Subjects: Uncatalogued
- Language: English
- Type: Academic theses , Doctoral theses , text
- Identifier: http://hdl.handle.net/10962/432488 , vital:72875 , DOI 10.21504/10962/432488
- Description: The Jazz stream of the Curriculum and Assessment Policy Statement Further Education and Training music curriculum was introduced in South Africa in 2012 (DBE, 2011a). Despite the intentions of the government to promote diversity, social transformation, and inclusion, subject music is still weighted towards Western Art Music, perpetuating past biases of a Eurocentric model for music education. This study, which uses a mixed-method approach, seeks to create strategies to advance Jazz education in South Africa through an a/r/tographic analysis of the author’s Jazz pedagogical methods at Durban High School in KwaZulu Natal, South Africa. Key approaches include curriculum theory, currere, a/r/tography, among others. After reviewing Jazz pedagogy in the U.S.A. and South Africa as a starting point, using Pinar’s (1994) method of currere, the author demonstrates how past personal music educational processes have led to present Jazz pedagogical methods. Six original compositions were written that outline the influences that infused these methods and added to the creative output related to this research. Interviews were conducted with key stakeholders in the Jazz community to gain perspective about the current state of Jazz education, and with students to provide insight into their reactions to the Jazz stream of CAPS. This presents new information about the curriculum from a learners’ perspective. Ethical clearance for research with children was sought and received (Appendix A). Findings show that the ability of learners to recognise the value in, and identity relating to, their African culture through Jazz points to a pivotal departure from previous Eurocentric music education models. However, despite South Africa being positioned as one of the only countries offering Jazz as a subject choice to high school learners, the selection of Jazz in the subject of Music remains underutilised. This study concludes that for Jazz education to advance in South African high schools, there needs to be intentional engagement with Jazz professionals at the high school level. , Thesis (PhD) -- Faculty of Humanities, Music and Musicology, 2023
- Full Text:
- Authors: Rungan, Natalie
- Date: 2023-10-13
- Subjects: Uncatalogued
- Language: English
- Type: Academic theses , Doctoral theses , text
- Identifier: http://hdl.handle.net/10962/432488 , vital:72875 , DOI 10.21504/10962/432488
- Description: The Jazz stream of the Curriculum and Assessment Policy Statement Further Education and Training music curriculum was introduced in South Africa in 2012 (DBE, 2011a). Despite the intentions of the government to promote diversity, social transformation, and inclusion, subject music is still weighted towards Western Art Music, perpetuating past biases of a Eurocentric model for music education. This study, which uses a mixed-method approach, seeks to create strategies to advance Jazz education in South Africa through an a/r/tographic analysis of the author’s Jazz pedagogical methods at Durban High School in KwaZulu Natal, South Africa. Key approaches include curriculum theory, currere, a/r/tography, among others. After reviewing Jazz pedagogy in the U.S.A. and South Africa as a starting point, using Pinar’s (1994) method of currere, the author demonstrates how past personal music educational processes have led to present Jazz pedagogical methods. Six original compositions were written that outline the influences that infused these methods and added to the creative output related to this research. Interviews were conducted with key stakeholders in the Jazz community to gain perspective about the current state of Jazz education, and with students to provide insight into their reactions to the Jazz stream of CAPS. This presents new information about the curriculum from a learners’ perspective. Ethical clearance for research with children was sought and received (Appendix A). Findings show that the ability of learners to recognise the value in, and identity relating to, their African culture through Jazz points to a pivotal departure from previous Eurocentric music education models. However, despite South Africa being positioned as one of the only countries offering Jazz as a subject choice to high school learners, the selection of Jazz in the subject of Music remains underutilised. This study concludes that for Jazz education to advance in South African high schools, there needs to be intentional engagement with Jazz professionals at the high school level. , Thesis (PhD) -- Faculty of Humanities, Music and Musicology, 2023
- Full Text:
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