Abstract
This study explores the understandings of cultural diversity as enacted in multicultural music education and is located in Victoria, which is identified as the most culturally diverse state in Australia with a population that comes from various countries and speaks many languages. This cultural diversity is reflected in the schools. This phenomenological qualitative case study explores how Sri Lankan/Australian students use music in their construction of self-identity in multicultural Australia. Semi-structured interviews were used to gather data that were analyzed using Interpretative Phenomenological Analysis. Three themes were identified as significant to the understanding of the participants concerning multicultural music studies. These themes are: Development of respect, Construction of self-identity and tolerance through appreciation of multicultural music, and Benefits of community music-making for school students. These findings contribute to the understanding of providing multicultural music education programs for students, which appears to be a pressing global challenge.
Keywords
Multicultural music education and its importance
Teaching multicultural music in school classrooms has become increasingly popular in many countries of the world. Chen-Hafteck (2007) agrees that teachers should welcome the varying cultural backgrounds, knowledge, and skills of the students in their classes and find ways to accommodate this diversity. Confirming this, Gay (2002) advocates that teachers can also make learning more effective by including the cultural knowledge pupils bring into the classrooms including musical traditions. He explains that music education is a good learning environment for cultural inclusivity. The research of many distinguished ethnomusicologists and historical musicologists, for example Blacking (1973), has shown that the world contains a number of highly sophisticated musical traditions that are based on different but equally logical principals. Many who have studied a variety of these musical traditions have begun to realize that the often-used concept of “music, the international language” has little validity in the present world. Moving to the Australian context, Joseph (2007) points out “many music teachers in Australian schools have a background in Western arts paradigms and practices as many would have been either schooled or trained in that fashion” (p. 28). In this situation it is possible to assume that these teachers may not have the necessary knowledge and skills to teach multicultural music. However, current school curricular expectations are that teachers will include multicultural practices in Australian schools.
The advantages of learning multicultural music for school students
Blacking (1973, 1995) has precisely highlighted the importance of acquiring knowledge of a music and its cultural practice through studying multicultural music. confirming this idea Chen-Hafteck (2007) claims that “an in-depth study of an unfamiliar culture brings novelty to classroom subject matter and motivates learning” and music education has been identified as one of the most effective subjects in this process (p. 227). Many researchers have recognized the increasing importance of multicultural music education and the evidence can be witnessed in the number of recent specialized written material including research reports (Campbell & Schippers, 2005; Klopper, 2005; Nzewi, 2003; Reimer, 2002). Further exploring the field Blair and Kondo (2008) suggest that “multicultural musics offer a wealth of rich musical works for students to explore and they are able to learn about musics and about other people through active engagement with new musical ideas” (p. 55). Regardless of the grade level, the incorporation of world music in general music classes can reinforce the knowledge of music elements through their use and interpretation in various musical styles (Anderson & Campbell, 1989, p. ix). More than increased understanding of one’s own music, exploring music from other cultures can broaden the understanding of our own culture (Blacking, 1973, 1995; Blair & Kondor, 2008). Strengthening this idea Nketia (1988) argued that, by incorporating musics of another culture in music education we may better understand our own musical background. Today’s Australian school students live in a country with culturally diverse communities and these students have the opportunity to achieve the above-mentioned advantages through learning multicultural music.
Why multicultural education is important to the Australian/Victorian context
During the last decades of the 20th century in Australia, there have been major changes in government and educational policies as they impact on cultural and linguistic diversity (Allan & Hill, 1995, p. 768; Jamrozik, Boland, & Urquhart, 1995, p. 99). Researchers have identified that “Australia has developed from a monocultural environment to one of pluralistic multiculturalism, in which it is hoped that each culture or subculture can make its own unique contribution” (Joseph & Southcott, 2007, p. 36). This is particularly relevant in Victoria, which is identified as the most culturally diverse state with a population that comes from more than 230 countries, speaking more than 200 languages and dialects, and following more than 120 religious faiths (Victorian Multicultural Commission, n.d.). This diversity is reflected in schools and thus it is essential to cater for diverse educational needs of these students. As Australia continues to develop its multicultural practices and attempts to position itself as part of an international community, “meaningful arts education practices in schools can enrich the cultural variety of contemporary and future society” (Joseph, 2007, p. 28).
Reflecting this societal emphasis, there has been an increasing recognition of the need to include multiculturalism in schools. Nearly 20 years ago Rizvi (1994) pointed out “how little schools in Australia have done to address the issues of cultural difference” (p. 55). This has gradually been changing. Information from the recently implemented Strategy for Victorian Government Schools, 2009–2013 (Government of Victoria, n.d.), further demonstrates the importance of multicultural education. In the ministerial foreword to this policy document the Honorable Bronwyn Pike, Minister for Education in Victoria, points out that all Victorian Government schools must prepare students for global and multicultural citizenship. Thus the promotion of multiculturalism, especially in educational intuitions, is seen as essential in the development of future Australia. Forrest and Watson (2010) identify that music is an effective vehicle to promote multiculturalism in schools.
In 2005 the National Review of School Music Education (NRSME) investigated the provision of music education. From the outset, this document emphasized the importance of music education in the “transmission of cultural heritage and values” (Department of Education, Science and Training (DEST), 2005, p. v). Disappointingly, little further specific reference was made to cultural diversity other than the recognition of “the impact of Australia’s diverse and complex cultural factors on school music” (DEST, 2005, p. ix). More encouragingly, in the recently released Draft Shape of the Australian Curriculum: The Arts (Australian Curriculum, Assessment and Reporting Authority (ACARA), 2010) suggests the engagement of students learning music in schools, “with the multiple and culturally diverse practices of music, locally, nationally and globally” (ACARA, 2010, p. 17). In this document, five art forms are to be taught (dance, drama, media studies, music, and visual arts) through “integrated curriculum and art-form-specific-approaches” (p. 10), with an emphasis on the latter. In the overarching rationale for the arts curriculum, it is clearly stated the “cultural diversity and indigenous cultural heritage are integral to all art forms” (p. 3). Given this imperative it is hoped that multicultural music will be included in the curricula devised by all Australian schools.
Underpinning the provision of music in schools is the question of who will teach it and what resources will be available. Australian teacher educators and researchers Southcott and Joseph (2009) point out that finding proper material, resources, time, and appropriate experts to educate learners in multicultural music is problematic. Nethsinghe (2009a, 2009b) recommends the employment of artists-in-residence and the use of talented culturally diverse students and their talented parents to support teachers in provision of multicultural music education in Victorian schools. This is already the case in many schools. Temmerman (2005) identified that “there is a heavy reliance of parents and community volunteers to assist in managing extra-curricular activities” in music education in Australian schools (p. 117). This research study explores the possibilities of how Sri Lankan/Australian students construct their cultural identities in music lessons in extra-curricular programs.
Multicultural music education and issues involved in teaching it
Volk (1998) identifies the importance of the educator in multicultural music education. She points out that “regardless of methods or materials, the teacher is the factor that makes a difference in the classroom. Multicultural music education cannot happen unless the individual music educators in classrooms all around the country make it happen” (p. 190). In a case study, Joseph and Southcott (2009b) identify the importance of preparing programs that are inclusive and inculcate in their pre-service music student teachers a wide range of cultural understandings and diverse experiences, which will make them culturally responsive music teachers. The findings of this study provided an insight into the preparation of culturally responsive teachers. Therefore, to improve the teaching of multicultural music in schools, it is important to consider the inclusion of multicultural music in teacher training. But there are many issues identified in this practice. Belz (2006) points out that “the majority of the world’s music traditions are currently left out in the training of musicians and music teachers” and “in a nation where the musical traditions valued by an ever-increasing segment of society lie outside Western European traditions, we can no longer afford to invalidate or devalue multiple perspectives of music and music making” (Belz, 2006, p. 42).
Optimistically, Belz (2006) suggests that “music education students should learn to express musical ideas from at least two different musical cultures, be required to perform on a non-Western instrument and study non-Western music with a member of that culture” (p. 42). This is not always possible for a number of reasons but, as learning multicultural music is considered essential and valuable, we should try to include, encourage, and promote this type of education for the benefit of our students. In another case study, Joseph and Southcott (2010) recognize that the effective inclusion of music of other cultures in teacher education is often very difficult, given the constraints of time and resources in contemporary Australian teacher education programs. It is possible to understand, for the reasons mentioned and because of the different circumstances, for example lack of authentic resources and experts, that Victorian schools are not capable of providing effective multicultural music educational programs at present. The notion of authenticity in multicultural music has been considered as a highly important aspect by many researchers (Belz, 2006; Blacking, 1973; Clements, 2006; Palmer, 1992; Tucker, 1992; Volk, 1998), but it is beyond the scope of this study to articulate this in depth. As an alternative in these conditions, extra-curricular activities can be utilized in providing multicultural music education, such as private music lessons conducted by community artists/artists-in-residence.
My background
Biernoff and Blom (2002) precisely pointed out that “musicians from other parts of the world come to Australia to live for many different reasons, bringing with them their musical knowledge and skills as performers and teachers, their approaches to education and their cultural heritage” (p. 23). In a research study Joseph and Southcott (2009a) identified the availability of such community artists as an asset for multicultural music education. Erwin, Edwards, Kerchner, & Knight (2003) pointed out that an artist is capable of providing an “insider’s view” that no other form of world music instruction can; thus, employment of such experts has been considered as one of the most effective and authentic resources in this process.
In this situation, it is possible to categorize myself as an artist-in-residence with a “multilingual, multi-musical, multiethnic, and multicultural” background (from Sri Lanka – a country with a multiethnic and multi-religious population) who works with communities in Victoria in the field of music (Joseph & Southcott, 2010, p. 76). Since migrating to Australia in 2003, I have been teaching within my own Sri Lankan community and in different schools in Victoria. In this research process it is necessary to introduce my background as it influenced my music teaching and the lessons that participating students were engaged in.
I was born in Sri Lanka, which was colonized by several European nations. It is possible to trace Dutch, Portuguese, and a strongly Sinhalese mix of cultures in my family roots, and the influence of two main religions, Buddhism and Christianity. I studied at a school where students represented different nationalities such as Sinhalese, Tamil, Muslim (Moors), Malay (Sri Lankan Malaysians), and Burghers (Dutch) who all came from different cultural and religious backgrounds. I received formal music education at a school in Sri Lanka. Later, I had the opportunity of doing my tertiary studies in the USSR (from 1990–2000) and I was able to travel and tour throughout the European community participating in various music festivals and competitions, playing with many jazz ensembles and different musicians. As my mother used to work in the Arab Emirates and I regularly visited her in my youth, I was able to learn Arabic music from culture-bearers and watch them play. As a result, I learnt a few languages and different musical styles, which influenced my understanding of the importance of multiculturalism and multicultural music teaching practices. As Campbell (2008) describes, I have learnt music formally, informally, and through enculturation, therefore it is possible for me to employ pedagogical practices described as “traversing a continuum of immersion that ranges from the experience of a born culture bearer to that of a tourist” (Joseph & Southcott, 2010, p. 76).
Research methodology
This qualitative, phenomenological case study was conducted in Victoria in 2009, to explore how Sri Lankan/Australian students use music in their construction of self-identity in contemporary, multicultural Australia (Nethsinghe, 2009b). Mark, Woodsong, Mac Queen, Guest, & Namey (2005) assert that qualitative research is especially effective in obtaining culturally specific information about the values, opinions, behaviors, and social contexts of a particular population. McMillan and Schumacher (2010) point out that “qualitative research designs emphasize gathering data on naturally occurring phenomena” (p. 23). Due to the nature of this research study the most appropriate methodological system has been identified as a qualitative phenomenological case study. Smith (2008) defines phenomenology as a study of “phenomena,” which includes the ways in which we experience things and the meanings things have for us in this experience. Further Johnson and Christensen (2004) describe that “the key element of a phenomenological research study is that the researcher attempts to understand how people experience a phenomenon from the person’s own perspectives.” Consequently, the researcher’s background, as described above, played an important role in this investigation (p. 46). The most commonly adopted research method in phenomenological enquiry is case study (Craig, 2008; Dualeh, 2003–04; Nielsen, 2003; Sumsion, 2002), which Yin (1984) defines as an empirical inquiry that investigates a contemporary phenomenon within its real-life context and in which multiple sources of evidence are used (p. 23). Stake (1995) added that case studies align with “naturalistic, holistic, ethnographic, phenomenological and biographic research methods” (p. xi). A number of researchers confirm that case study results facilitate the understanding of complex real-life situation (Simons, 1980; Stake, 1995; Yin, 1994). The most common data collection strategy in phenomenological case studies is semi-structured interviews (Craig, 2008; Willig, 2009). Thus, semi-structured interviews have been employed in this study to collect data from the participants.
Semi-structured interviews provide “an opportunity for the researcher to hear the participants talk about a particular aspect of their life or experience” (Willig, 2009, p. 24). In such interviews, there is an attempt to establish rapport, freedom to explore issues, and flexibility to pursue participants’ interests (Smith & Osborn, 2009). Knobel and Lankshear (1999) explained that “as they interpret what’s going on in their interviews, the participants in a study are directly involved constructing the data” (p. 88). As all participants were known to the author and to ensure reliability and validity of data, the interviews were carried out by a colleague who was a stranger to the research participants. Having gained ethical permission to undertake this research and in line with semi-structured interview technique, a set of broad, flexible questions was developed and interviews were arranged. The participants were all adolescents and it was decided to interview them in pairs to encourage conversation, particularly as the interviewer was not known to them. To set the participants at ease the first questions were very general, for example, what styles of music they prefer and how long they had been studying music. Next there was an exploration of what they listen to at home and whether their tastes were the same as those of their parents. Participants were asked about the music lessons they had at school and about their extra-curricular music learning. As it was known that these interviewees took part in Sri Lankan cultural celebrations and other drama/musical performances they were asked about these events and about music in their homes and communities. In addition, to try to elicit observations about different musics, interviewees were asked whether they visit Sri Lanka or other countries with their parents and what types of music they listen to during their visits.
Once collected, data were transcribed and then analyzed using Interpretative Phenomenological Analysis (IPA). IPA is considered as a relatively recent qualitative method developed by Jonathon A. Smith that “attempts to understand how participants make sense of their experiences but it recognizes that this involves a process of interpretation by the researcher” (Smith, 2005). Smith and Osborn (2007) confirm that most IPA studies have been conducted through the semi-structured interviews (p. 57), which is the case in this research. Researchers from the Faculty of Education at Monash University in Victoria, Australia have been employing IPA, especially in the area of music education research (Nethsinghe, 2009b; Crawford, 2007).
Research participants and limitations
As requested by members of the Sri Lankan community in south-eastern suburbs in Melbourne, Victoria, in 2006 I started some private weekend music lessons for children. Many researchers have found that students also learn outside of school through the social curriculum and much of that societal curriculum provides multicultural education (Berry, 1980; Cortes, 1995; Leifer, Gordon, & Graves, 1974; Leiss, Kline, & Jhally, 1986; Spring, 1992). With parental permission, the students whom I teach agreed to take part in this research. All the participants are Australian school students with a Sri Lankan background. Students study a variety of musical styles from different cultures in the extra-curricular classes that I offer, including western and Sri Lankan music. As part of these studies, students and their parents expect to participate in community events (Nethsinghe, 2009a). Temmerman (2005) recognized the importance of developing the music learning opportunities for students “beyond the class room,” highlighting that these events present opportunities “for students to have contact with ‘real’ professional musicians, and local community events” (p. 117). In pairs, altogether 10 students were interviewed. All student participants of this research have been studying music from 1 to 3 years with the researcher. Four students were in year 10, one student was in year 9, another student in year 6 and the remainder in year 7. 1 As this study investigated only a sample of students learning music from a particular teacher and represent a specific group amongst the varied communities in Victoria, one must interpret the findings with caution. Furthermore, these students did appreciate multicultural music, as they (their families) have come to Australia from another multicultural country. This diverse cultural background is similar to that of the researcher/music teacher as has been discussed earlier. Students from a different cultural background would need to acquire prior knowledge and understanding, otherwise teaching multicultural music could be challenging. The small number of participants meant that the findings could only be considered indicative, and it would be interesting to explore these results in other educational contexts.
Findings and discussion: Multicultural music knowledge and its importance for the participant students
This investigation provided an opportunity to explore the construction of cultural identity in Sri Lankan/Australian music students during extra-curricular music programs. It is hoped that these findings will contribute to the understanding of multicultural music education in extra-curricular music programs. A number of themes were identified. These include the advantages of multicultural music learning for the chosen participants and the development of attitudes and understandings that contribute to the development of a tolerant and inclusive society. The themes identified are: development of respect and tolerance through appreciation of multicultural music; construction of self-identity; and benefits of community music-making for school students.
Development of respect and tolerance through appreciation of multicultural music
It became clear that these participants have developed a multi-musical understanding – they see that the music of one culture can influence the music of another culture. One student stated that the fact is: that you don’t realize it, but every other culture is interrelated to your own if you think about it. Like looking back at our old music we had very traditional instruments and stuff but with the newer instruments and the styles that have been brought through from other cultures, our music has developed as well. So that it is giving us a new insight into what talent there is around the world and the different kinds of talents.
Although this interviewee used the term “talent,” she was referring to performers of music. This understanding reflects a very multicultural perspective, which is not surprising, given that these students have left one multicultural society (Sri Lanka) to come to another (Australia). This student’s father explained that “Sri Lankan music too has an influence on Portuguese and other European musical styles and by having those music mixed it has become different. In classical songs they had put in lots of variations and stuff, as music gets newer they only stick to the basics and make it a plain song.” These comments show that they listen to music with a balanced mix of cultural identity and from a number of styles and genres.
It was interesting to investigate the types of music that they listen to at home to explore the influence of parents. Most students mentioned that they listen to the same type of music (Sinhalese and Hindi) as their parents but all of them stated that they are interested in listening to different styles of contemporary western music styles such as hip-hop, R&B, rap, and pop. There is a balance between parents’ and students’ musical interests, which varies with time and situation. A participant student clarified this by mentioning, “my parents listen to different radio channels (like Sinhalese channel at home). If I turn on my music, my parents tell me to turn off and listen to Sinhalese music on radio. In the car they listen to ordinary radio with us.” This appreciation for different musics develops respect and tolerance, which are values reflected in Australian governmental policies. The Australian federal government mandates that schools should foster teaching and learning that will create future citizens who are “caring, tolerant, fair and compassionate” (DEST, 2005, p. 2).
Joseph and Southcott (2009a) assert that students studying multicultural music should develop diverse musical and artistic expressions and an appreciation and understanding of music, culture, and the communities that create them. One of the interviewees confirmed this understanding, stating “it is respectful when you go to another country, we can actually listen to their music and if you get interested you can even study that music too.” A few students included the notion of respect in replying to the question whether learning multicultural music is a good thing: for example, one student mentioned “in a situation where there is different music, you won’t be able to enjoy it because you can’t grasp that music, so it is important to understand and respect music from other cultures.” Drummond (2005) pointed out that “the emergence over recent decades of intercultural and transcultural musical practices certainly reflects a growing respect for cultural plurality and much of the intercultural music-making that takes place, models relationships” (p. 9). Temmerman (2005) confirmed that relationships and partnerships can promote understanding and mutual respect. One question touched further on the notion of respect. In response to a question whether it is good to learn music from other cultures, a student said: “It’s quite interesting. It makes you open minded about what’s out there.” He further explained that “if you stick to one type, you know you will become narrow minded.” Another student joined in to describe how opinions could change, stating that people should “have their options open and … after a while they might think or realize, I did not like it in the first place, but now I kind of like it.” This suggests that students are capable of appreciating other musical styles by being broad-minded through their multicultural music education. These student opinions illustrate the importance of learning multicultural music to children, both in school and in extra-curricular programs (Anderson & Campbell, 1989; Blair & Kondor, 2008; Chen-Hafteck, 2007; Nketia, 1988).
Construction of self-identity
One participant succinctly explained, “awareness of differences develops the formation of your own identity.” This suggests that through the understanding of one’s own musical background it is possible to develop and extend the sense of musical and cultural self-identity. Nketia (1988) explains that, by exploring musics of another culture, we may better understand our own musical background. The participants’ thinking about music from different cultures was reflected in their ideas about culture in general. Another student explained: music could influence you as a person … I am completely different because of my culture, my heritage, but even within our Sri Lankan community, I am different to others because I have been influenced by the music that I listen to and the TV shows that I watch and I’ve got a broader knowledge … where others don’t. That pretty much makes us individuals.
She continued to give an example about the similarities between Spanish and Sri Lankan vocal styles, “if you meet someone from Spain, where they have a completely different [style] … you find things in common, so you know how the music changes and improves our music.” This student is talking about the potential of music to be developed by contact with a range of cultures and that music can be a bridge between people of different cultures. She concludes, “you talk to someone, [and say] oh yes we have this in our music, thanks to you, so you identify something in common among people.”
Investigating the importance of “outside school music education,” Temmerman (2005) pointed out that learning different styles of music is “closely linked to young people’s sense of developing personal identity” (p. 115). Exploring this from a different angle, Gordon (1993) points out that “one of the main, if not original, tenets of multicultural education is to make students aware of difference” (p. 189). Students participating in this study further explained that this practice of exploring multicultural music developed respect for their own traditional music and their recognition of its place in their cultural heritage and identity.
Benefits of community music-making for school students
To explore the music lessons that they receive from the researcher, students were asked to describe what sort of music they learn. They explained, “we just do a genre for six or eight weeks and then we move on to a different genre.” One student explained in more detail that: we learnt different styles and songs including singing. We looked at different instruments from other countries, for example African drums, tabla, harp type African instruments and wind instruments like Arabian flute, another instrument similar to the one that they use for charming snakes. We listen to a lot of different styles of music and instruments that are played in different countries.
These students have also had the opportunity to take part in Sri Lankan community arts performances over the past 3 years. Students explained that these events and concerts are cultural events such as Sri Lankan Independence Day Celebrations (in Melbourne) and “most importantly we play music for a drama.” The drama production described by the participants is a children’s drama produced by the artists-in-residence, who are members of the Sri Lankan community. This production was first staged in Melbourne in 2008 (Nethsinghe, 2009a). Such experiences influence these participants’ understanding and experiences of multicultural music. Temmerman (2005) identified the opportunities presented through community events for students as important. The students involved in this study confirmed the importance of community music-making and all recalled taking part in Sri Lankan community arts performances/cultural events as described. Koopman (2007) points out that “community music helps people to share experiences and to understand each other” (p. 153) and he claims that “community music practices accord with the new ideas in a natural way” (p. 157). Tolerance and respect that students develop through appreciation of multicultural music will assist them in living in harmony with the other members of the diverse society in which they live. As revealed earlier, community music-making provides students with opportunities to learn multicultural music that schools are often not capable of providing for a number of reasons. Heath (2001) described that the learning environments provided by the diversity of community organizations can help students to achieve learning outcomes that schools often do not have the time or resources to foster. Confirming this, Sloboda (2001) suggested that the provisions of diverse music education available beyond the school environment may be able to provide a more effective source of learning for students. Considering the current situation, Nethsinghe (2009b) argues that “it is not possible for the school structure to cater for all different cultural needs of multicultural communities in Victoria” (p. 27). To address this community involvement, including the involvement of students and their parents in formal and informal education may provide such opportunities for the future generation to achieve these objectives. Hidalgo, Bright, Epstein, Siu, & Swap (1995) pointed out that “for over a quarter century, studies have shown that children benefit when their parents support and encourage their education” contributing to the massive informal curriculum that students learn from outside the school, explained in the construction of self-identity (p. 499). These facts provide strong evidence of the importance and benefits of community music-making for Victorian school pupils; thus, community music-making can be identified as an important resource available for these students, based on collected data and the experience of the researcher.
Conclusion
The research findings demonstrated that there are many different factors that contribute to the development of the self-identity of the students who participated in this study. For example, their parents play a vital role in this process by enabling and encouraging students to involve themselves in community events and extra-curricular activities. Illustrating this, the author-researcher of this article, Nethsinghe (2009b), explained that “I included multicultural music in my lessons, especially Sri Lankan music from the very beginning as their parents expected” (p. 11). Some parents encourage their children by modeling. For example, one parent takes part in these events as a sound technician/stage lighting technician. Two others are taking part as actors/singers in drama productions. These students also use their peers in this process as a source of support. This is another factor identified in this research. For the past 30 years researchers have pointed out that students learn outside school through an ongoing and extensive informal curriculum of families, friends, peer groups, neighborhoods, organizations, institutions, and other societal contexts that educate all of us throughout our lives (Cortes, 1995; Leifer et al., 1974; Leiss et al., 1986; Spring, 1992). The other most important component of this process that students learn from is the community itself. Cultural events organized by the community and other resources such as organizations and educational workshops can provide these students the opportunity to engage with the culture of others and learn their own cultural heritage. Hidalgo et al. (1995) assert that “community based agencies may provide the effective education that schools have not traditionally presented” (p. 503). This community involvement in the process of education contributes to the development of self-identity of these participants as Sri Lankan Australians.
Southcott and Joseph (2009) describe music education as a powerful media to rethink cultural diversity, where difference can be celebrated. They clarify that “music, with its nation building potential has the ability to build bridges to cross the divides in our diverse community” (Southcott & Joseph, 2009, p. 2). In addition Southcott and Joseph (2009) make the point that in multicultural Australia, the development of positive intercultural attitudes is “essential in the creation of a harmonious integrated society” (p. 2). But there are many barriers in achieving this. According to Nyome’s remark (2001) about aesthetic appreciation, “it goes without saying that while political barriers, economic barriers and language barriers continue to seperate people, music and the performing arts continue to build bridges all over the world” (p. 64). Given that Australia is a multicultural country with citizens who have immigrated from countries all over the world, those in authority at every level should make the maximum use of the multicultural resources, knowledge, and skills that people bring to this country in the education of its future citizens and conquer the barriers that seperate people.
Footnotes
Acknowledgements
I gratefully acknowledge the advice and support of Dr Jane Southcott from the Faculty of Education at Monash University and special thanks to her for supervising this project.
Funding
This research received no specific grant from any funding agency in the public, commercial, or not-for-profit sectors.
Notes
Author biography
Rohan Nethsinghe has completed music degrees in the Ukraine, teacher education in Australia, and is now a doctoral candidate in the Faculty of Education, Monash University, Australia. His research concerns multiculturalism, cultural diversity and authenticity in music and music education. Rohan has published in international and national refereed journals and reviews for a number of well-respected journals. He has presented papers both nationally and internationally and has also won several prestigious scholarships and awards including the Monash University Jeff Northfield Award for Excellence in Teacher Research, in 2012.