DIÁLOGO SOBRE LOS HECHOS

This section focuses on discussing the findings of the research and comparing them with the literature and theoretical frameworks that were discussed in Chapter 2. It is therefore necessary to revisit the aim of the research as well as the research question. The aim of the research was to explore the experiences of adolescents by using djembe drumming as an activity to support and increase self-esteem and build a sense of self-efficacy. In doing so, the researcher aimed to conceptualise the meaning that drumming gave to the participating adolescents’ experiences and to gain insight into the extent to which drumming could serve as an intervention to support learning and academic development. The main research question was:

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The different themes and the associated categories of findings are discussed in relation to the literature that informed this study.

5.1.1 Adolescents’ lived experiences of the impact of djembe drumming on learning

In the literature review, various theoretical approaches were discussed. This brought a better understanding of the insights, models and theories of others, such as the bioecological model of Bronferbrenner (1979); Erikson’s (1963) basic framework, the psychosocial theory, for understanding the development of adolescents; the social cognitive theory of Bandura (1991; 1997; 1999); and the neurological development of the adolescent of Suleiman et al. (2015); Steinberg (2008); and Ernst et al. (2006).

Bronferbrenner’s bioecological model emphasises the importance of understanding the contexts in which learning takes place, as well as the dynamic interactions of these contexts with each other and the individual. This research study emphasized the importance of learning contexts. The group of participants, originating from a socially disadvantaged area interacted with the researcher, from a more advantaged context. As Swart and Pettipher (2011) point out, adolescents’ perceptions of their systemic environment are central to their interaction with the environment, and therefore guides or influences their conduct towards other people as members of this systemic environment. The interaction of the researcher with the adolescent participants represented the interactions with their systemic environment, also referred to as proximal interactions (Bronferbrenner, 1979). The researcher is of the opinion that certain outcomes of the research may be directly related to the proximal interactions that resulted. The clear difference in social contexts between researcher and participants, the novelty of being exposed to a musical activity, and the experience of certain qualities of a therapeutic relationship, such as unconditional positive regard, and empathy, may have had a positive effect on the outcomes.

The various findings that emerged from this case study showed a marked correspondence with the theoretical approaches named above. The bioecological framework of Bronferbrenner (1979), corresponds with the adolescents’ experiences in a number of ways, as described below.

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The findings of the adolescents’ experiences on the level of the microsystem refer to their experiences of success with and mastery of music, which contributes to building a sense of self-efficacy. Interactions with the researcher represent their experience of the mesosystem, where the researcher offers a supportive relationship and interaction in the form of the music therapeutic activities, and thereby strengthens the developmental process through positive and supportive interactions. Life experiences refer to the memories of significant events over time, which represent the chronosystem (Swart & Pettipher, 2011; Bronferbrenner, 1979). The experience of the djembe drumming group that took place in 2014 can be attributed to a significant event, and development over time took place before data was gathered for the second focus group interview in 2015. This development has been shown to be positive academic development in most of the members of the group.

Throughout the data, and as shown in the themes, there were references to the adolescents’ positive enjoyment and to their belief that they could accomplish complex rhythmic patterns. There was also evidence of their eventual expressive creations. The adolescents’ confidence were reflected in experimental attempts, jamming and free rumbling sessions by the participants. This corresponds with the effects of self-efficacy beliefs on cognitive processes, as Bandura (1991) has shown that human behaviour is to a large extent purposive, and regulated by forethought of embodying specific goals. The stronger the perceived self-efficacy, the higher the goal challenges individuals set for themselves. The model of five levels of contact, as developed by Steen-Moller (1996) embodies, and corresponds with, the behaviour of the participants as an awareness of self, the environment, and of interactions developed on level five. Objectives during this stage include nurturing the sense of autonomy and agency, and further developing the communicative skills, such as flexibility, creativity, listening, and response to content. This sense of autonomy and agency seems reminiscent of Bandura’s sense of self-efficacy.

The data further reflect that the participants valued the connection with other members of the group, and reflected on being part of a group with positivity and enjoyment. This corresponds with the description of the adolescent developmental phase during which young people become more aware of themselves and their identities, and also find the social, interactive situations as the spaces where they develop self-esteem (Harter,

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1999). Wigram (2004) noted that when two or more individuals engage in musically expressive behaviour, they are communicating, and contact is thus established. The building of proximal relations, as advocated by the developmental theories of Bronferbrenner, can thus be facilitated by engagement in musically expressive behaviour.

The theme, connectedness to self, emerged from the data, and participants’ experiences reflected that the involvement in the drumming group gave them a feeling of being special and that the music that had always been inside them had been brought out. The development of a lasting, integrated sense of self is central to the identity formation phase, which forms part of Erikson’s psychosocial theory (1963). The development of identity is central to adulthood, and in many other aspects of an individual’s life, including cognitive processes. The themes of spirituality and serenity also seemed to support this contemplative space where the adolescents had the opportunity to become aware of themselves and who they were.

The goal of achieving change in music therapy may be in the areas of attention, concentration, impulse control, social functioning, self-esteem, self-expression, motivation, and cognition (Pelliteri, 2000). Participants’ experiences in the drumming group corresponded with these goals as they reported an awareness and understanding of their own learning processes. They indicated that there were certain techniques used in the drumming group which they had applied successfully later in their own learning.

The theme, positivity and enjoyment, under the category participants’ experiences in the moment, reflected positive experiences of feeling alive, excited and inspired, and also the enjoyment of a fun-filled activity. These reflections correspond with Kalani’s (2004) view that group drumming should be fun and playful. Oaklander (2006) reiterates Kalani’s view in that she is of the opinion that a child and adolescent’s innate tendency is toward humour and playfulness, and this may be suppressed by traumatic and disruptive life experiences. The importance of providing children and adolescents with opportunities to play offers them a chance to proceed with the tasks of normal development.

A positive, supportive and inclusive immediate social environment can be seen as essential to the continuing well-being of marginalised adolescents (Berry, 1997; Gifford et

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al. 2009). School-based music activities can offer this “tool for inclusion” (Saether, 2008), and this tool can be applied to integrate the past, present, and future in a way that restores a sense of identity, meaning, continuity, and belonging. The category, participants’ experiences in the moment, and the theme, serenity, reflected participants’ experiences of calmness, peace (which could indicate acceptance of self in the moment) and freedom (which could indicate autonomy). The category, participants’ experience with djembe drumming that may have an impact on learning, was divided into a theme called continued/lasting effect, in which participants indicated that they could foresee a continuation with the drumming sessions in future.