In this subsection of the chapter, I look at how learning of African music contributes to identity formation in students in the classroom as a community of practice. Ruud (2009, p.5) defines identity as ‘the person’s consciousness about being the same, the experience of continuity and about being uniquely different from others”. Berger and Luckmann (1966) look at identity as a key element of subjective reality that stands in a dialectical relationship with society and that; it is formed by social processes which are determined by social structure. Lave and Wenger argue that it is through participation that identity and practices are formed (1991).
Handley et al (2006) acknowledge that learning is not simply about developing one’s knowledge and practice, it also involves a process of understanding ‘who we are’ and in which communities of practice we belong and are accepted. Situated learning theory therefore, brings a renewed or alternative focus on issues of identity though literature has shown that there is little reference to the theories of identity construction within the theory (Handley, 2006). Saether (2003) argues that music, and certainly African music is an important marker of identity. In this context, identity enables to look at the widespread interactions between African music and the individual student. Therefore, the students’ participation in interactions through learning of African music
helps in the construction of different identities. MacDonald et al (2009) observes that students’ active participation in learning is determined by the function it plays both in their learning and individual lives. They mention that functions range from the individual (music can affect the way we feel and the way we manage our lives) to the social (it can facilitate the coordination of large number of people and help to forge a sense of group identity). From these functions of music we see that one primary social function of music lies in establishing and developing an individual’s sense of identity. It is from this perspective that MacDonalds et al argue that any student
involved in musical activities either as in learning, listening or performing, develops aspects of personal identity that are inextricably linked to these musical activities (2009). Music therefore, is not only important to students and us all, but that it plays a fundamental role in the
development, negotiation and maintenance of identities.
In the classroom, students construct their musical identities by being part of the learning community. Through learning of African music, the student’s contributions or the central role they play determines their identity (Collins, 1999). Kanasi (2007) argues that through learning of African music, students not only construct identities but that it is also used to transmit cultural practices from one student to the other or inherit some cultural practices from what is being taught. It therefore, goes without saying that teaching and learning of African music helps in the preservation of one’s culture. Nevertheless, the contributions made by students in the process of learning African music helps them to develop the self identity which makes them to learn more in the process. Collins (1991) contends that individual identity is developed when the student’s contribution is recognised through being responsible for other students’ learning and the
expertise and skills one contributes to collective understanding in the classroom. The amount of work the student contributes to overall learning, leads to musical achievement, and it is from this achievement that the identity is constructed. How a student sees him or herself as being able to participate favourably by contributing much, is therefore, central to self identity. This
contribution can be encouraged by praise from the teacher or fellow students to strengthen the identity. The positive feedback that the student gets from whom Berger and Luckmann (1991) calls significant others, in the classroom play an important role in developing yet another identity as ‘a student studying African music’. This feeling motivates the student to higher levels of practice and achievement which are key concepts in formation of identity. It is at this time that a
student constructs the musical identity of being a musician. MacDonalds et al (2009) argue that since the identity of being a musician is a socially and culturally defined concept, the student does not acquire the label ‘musician’ by attaining advanced levels of technical ability or
knowledge. Instead, the student acquires the musical identity of ‘musician’ in terms of playing a musical instrument and making music.
In the classroom as a learning community, there is also the notion of a community identity which Lave and Wenger (1991) referred to as membership identity. Lave and Wenger assert that
students’ participation in the community of practice gives them another form of identity related to membership. This membership identity is constructed by virtual of belonging to the classroom membership. By working towards a common goal and developing a collective awareness of the expertise available among the members of the community, a sense of “who they are’ develops. The sense of ‘who they are’ makes them construct the membership identity basing on how they understand themselves and how they are viewed by others (Lave and Wenger, 1991).
MacDonalds et al points out that to be identified with the African traditional music practiced within the regions that are defined as a nation gives the student or group of students a national identity rooted in that traditional music of Zambia. MacDonalds et al however, hasten to mention that in this modern era, because students’ musical preferences seem to be based more upon global music than upon any specific ‘national music’ the aspect of national identity becomes problematic. Nevertheless, MacDonalds et al argue that ‘nationality’ and, accordingly, ‘national identity’ though they are used in music education, are basically political concepts which should be avoided in the educational context because it may not be easier for people from different musical traditions as representatives of different nationalities to meet and play music together. They therefore, feel that the term ‘cultural identity’ could be more suitable because it tends to be more neutral in the sense that it has a more direct bearing on African music itself and on musical expression, rather than on the values it represents. So far, we have done so much about African music without showing what it is exactly. In the next subsection therefore, I explore the ‘African music’ concept and its link to indigenous knowledge.