I have recently returned to Africa after more than 20 years of residing in the UK, and I am struck by the fact that though I am in South Africa, one of the most technologically advanced, and economically and politically stable countries on the continent, there is an enormous gap between those that ‘don’t have’ and those that ‘have’. Perceived from another perspective, it would seem that some people are able to enjoy a high standard of living whilst their neighbours have to eke out a meagre life where even a day’s meal is a problem. In South Africa as in other so-called ‘developing countries’, I am aware that for some, basic amenities such as clean water and electricity cannot be taken for granted. In some cases, children have to take as much as two hours to walk to school and the same time to get back home. If they also have to fetch water and do other chores, it is obvious that they have little time to study. And all of these are coupled with the reality of unemployment and low salaries for some families. More fortunate children are bussed but, even then, there is the issue of location of schools in the local community for some children residing in rural areas. Furthermore, if some schools do not have electricity and sufficient resources such as books and equipment including musical instruments, this has some serious implications. In some urban areas, the situation is different and, in some cases, equates with what one finds in more affluent areas in the West.

Perhaps the situation is more accentuated in South Africa which has yet to recover from the long period of apartheid than in other countries in the ‘South’ – in parts of Asia, South America and Africa. It could be argued that if economically disadvantaged people in the so-called developing countries of the world are increasingly concerned with trying to subsist, then they are unlikely to be concerned with artistic pursuits. Where formalised education is concerned, musical arts may not seem essential to getting out of the economic trap. It can also be argued that it is such pursuits that can give people a sense of belonging and help them to make more sense of their situation. Perhaps, this is not the best place to rehearse arguments for the inclusion of musical arts in formalised education. However, the holistic education approach, the acquisition of performance and transferable social and other skills, the sense of discipline and issues of identity are important. And these are quite apart from the fact that the arts contribute significantly to the economies of many countries and are patronised by virtually all people.

Obviously, there is a role for the sorts of activities and concerns of organisations like the Centre for Intercultural Musical Arts (CIMA), not only in the ‘South’ but also in the ‘West’ and ‘North’ where divisions in societies and communities also persist. Furthermore, irrespective of economic or technological advantage, there are human issues that need to be sorted out by people from different cultural perspectives coming into contact with one another. 

Formalised education is one avenue where this can be done – through musical and other arts. However, I believe that the cultural confluence needs to be transacted sensitively. It is important to attempt to address the needs of teachers at all educational levels particularly those working in taxing situations, where there is a lack of resources and materials. How this can be tackled effectively, it seems to me, should be a particular focus and aim for CIMA. In all areas of the world, it is essential that teachers at all levels are equipped with the knowledge, skills, and understanding to help them cope with diverse musical traditions, styles, and genres as well as culturally sensitive ways of handling these. It is intended that Intercultural Musicology be used as a forum to deal with this aspect; but there is a need to investigate how it can be effectively and more widely distributed. 

Obviously, the Internet may be a cost-effective avenue. Unfortunately, many people in the ‘South’ (so-called developing world’) do not have regular and easy access to the Internet, and producing a hard paper version of the bulletin can be expensive. This, I contend, is a challenge that CIMA has to face in the near future. As editor and director of CIMA, I would welcome any views, ideas, suggestions and comments on possible ways forward.

The Articles

The two articles in this issue are contrasting in style and mood. The first, by Jill Scarfe, is more formal, while the second, by Elaine Barkin, is more colloquial. The latter is more like a conversation which uses culture-specific expressions.

Jill Scarfe discusses research she carried out into the musical experiences of Punjabi Muslim pupils in a primary school in England. In the class where she conducted her investigation, these children were in the majority. Scarfe’s main point is that some children in England do not have an adequate music education. She argues that schools may find it problematic to provide an appropriate music education for students who have a non-Western background and experience. This has specific implications for music education in multicultural and intercultural contexts.

Elaine Barkin draws on her considerable experience and reflects on her intercultural adventures. She achieves this by using carefully chosen quotations to give an insight into some thorny pertinent issues that confront composers and, to a lesser extent, performers of intercultural musics.