CHANGING LIVES THROUGH
MARIMBAS
A PRESENTATION
BY
JOAN LITHGOW
FROM
EDUCATION AFRICA
MUSIC EDUCATION IS AN ELITIST ACTIVITY
• By and large music education is an ELITIST activity
in most of the world.
• Only those people who can afford private lessons,
expensive instruments and exam fees can enter
this elitist “club”
• While I fully acknowledge the incredible work
that all private music teachers do, I, personally
believe that music lessons should be for everyone
and NOT just the few that can afford them.
“When I am asked why I teach music the answer
is never to create good music, or create
musicians! It is always the other “things” that
engaging in music-making does for children:
team-building, building of self-esteem, creating
a feeling of belonging, developing listening skills
for life, being empathetic to others, sensitivity,
etc etc. If I get good music out as well it is a
bonus. The “good music” is a by-product of the
process not the main product!
INTRODUCTION TO MARIMBAS
WHAT IS A MARIMBA?
• A musical instrument that has a frame,
resonators and tuned wooden bars
• Comes in all shapes and sizes
• Orchestral marimbas
• African marimbas
• Marimbas from Guatamala etc etc
• Difference between a marimba and a xylophone
EXAMPLES OF VARIOUS MARIMBAS
PIPE RESONATORS
GOURD RESONATORS
BOX RESONATORS
ORCHESTRAL MARIMBA
WHERE DO MARIMBAS COME FROM?
• Africa?
• Guatamala?
• Asia?
BRIEF HISTORY OF THE MARIMBA IN
SOUTH AFRICA
• Through tremendous effort made in the past decade by
various marimba manufacturers, individuals,
educational institutions and NGOs marimba-playing
has become a sought-after activity by youth of all
socio-economic backgrounds.
• There is only evidence of two communities in South
Africa who once played a truly African
xylophone/marimba. These are the Venda and the
Shangana/Tsonga, both from the far north. There are
no recordings of these available and they are
completely obsolete.
• However, since the 1970s when marimbas were
brought down from Zimbabwe to South Africa a
growing tradition of marimba playing has developed.
• We now have a burgeoning community of marimba
players with thousands of children and adults playing
on a variety of marimba instruments throughout South
Africa. Unfortunately, the communities that most
need to be playing marimbas, seldom get the
opportunity as there is no money to set up marimba
schools.
THE REALITY OF OUR EDUCATION SYSTEM IN
MOST OF OUR GOVERNMENT SCHOOLS
•
•
•
•
Distinct lack of extra-mural activities
Huge class sizes
Unmotivated teachers due to huge class sizes
Undisciplined classes: due to class size and
therefore lack of personal space
• Unqualified teachers with subjects often being
taught by teachers who have NO knowledge of
the subject whatsoever!
• Particularly evident in Creative Arts!
EDUCATION AFRICA
• Education Africa’s mission statement is quite clear: “Established in
1992, Education Africa strives to reach and uplift the poorest of the
poor. We aim to assist disadvantaged South Africans in their quest
to obtain a quality, relevant education in order to ensure that they
are in a position to become global citizens and a competitive,
productive element in the local job market. Education Africa aims
for an educated nation, which in turn will lead to a progressive
nation that is in a position to sustain economic growth.”
• The educational value of marimba-playing cannot be overemphasized enough. Equally important is the fact that the marimba
is a musical instrument of African origin that can easily be played
by everyone within a short space of time.
MY WORK AT EDUCATION AFRICA
•
•
•
•
Establish marimba hubs
Train teachers to teach the marimba
Train children
Organise the annual Education Africa
International Marimba and Steelpan Festival
which attracts about 1600 marimba and steelpan
players from South Africa and internationally.
This is the largest festival of its kind in the world.
• International tours with marimba bands from
disadvantaged communities.
UNIQUE METHODOLOGY TO TEACH LARGE
GROUPS TO PLAY THE MARIMBA
•
•
•
•
•
Teach by rote in small bite-size chunks
Teach everyone all the parts
Dummy keyboards
Memory joggers
Rhythmic vocabulary
ROTE TEACHING
• Extremely difficult to read music playing a
keyboard that does not have the “black keys”
• Complicated and syncopated rhythms are taught
all the time which if taught by music reading
would take forever to teach!
• Listening, memory and concentration skills are
honed when teaching by rote.
• It follows the good teaching practice of: HEAR DO
AND THEN SEE!
• AURAL SKILLS are developed ALL the time!
WHY TEACH ALL PARTS TO EVERYONE?
• Allows every child the opportunity to grow in
the music
• Gives every child the vision to see where they
can go in the piece
• You never have to cancel a performance
because one band member does not arrive
• Memory development
• Creates an understanding of the full score and
how all the parts fit together
DUMMY KEYBOARDS
•
•
•
•
Allows more children to learn at the same time
Keeps every child focused throughout the lesson
Excellent as a discipline tool
Gives the learners opportunity to use their tactile
sense
• No one loses when you use dummy keyboards:
you hear the part, you play the part
• You only teach ONCE!
USE OF MEMORY JOGGERS
• Graphic representation of the score
• Only used to jog the memory
• Particularly useful for people who don’t read
music
• May be used in conjunction with other forms
of technology: cell phones/mp3s
• Many scores are rhythmically too difficult to
read for “instant music” to take place
RHYTHMIC VOCABULARY
• Assists with memory of the rhythms
• As a result of initial good and thorough
teaching with rhythmic vocabulary the
learning curve escalates after the first piece
A TYPICAL CLASSROOM
ARRANGEMENT
WHY EVERY SOUTH AFRICAN CHILD
SHOULD BE PLAYING MARIMBAS
• The marimba is a robust, low maintenance, portable
instrument that does not need electricity to operate!
• No prior knowledge or musical experience is needed.
• Teachers/facilitators can be trained within a relatively
few hours and learners are able to play a piece of
music in their very first lesson.
• Players can advance from beginners to fantastic
performers within a short space of time.
• Concentration skills are greatly enhanced and worked
upon when learning to play marimbas.
• Self-confidence and self-esteem are greatly boosted
as there is a part for every child to play, regardless of
ability.
• Because of the recommended technique of playing
marimbas: hand to hand/ alternating hands—both
sides of the brain are being exercised equally. This
does not often happen in many other activities.
• Playing music together is a team effort! Each and every
member of the team is equally important.
• Because it is recommended that hands are alternated
all the time, crossing of the midline becomes second
nature.
• Listening skills are greatly enhanced when playing
marimbas: players need to play absolutely together to
create a piece of music.
• Through various games and exercises learners’ aural
training skills may be developed.
• It is a known fact that maths and music are
inter-related. Marimba music is strongly based
on patterning: maths is also full of patterning.
It goes without saying that the one helps and
reinforces the other.
• The science of sound production can be
demonstrated and studied through the
marimba.
• Through singing and spelling games on the
marimba, language skills and spelling is
improved.
• The bars on the marimba are fairly wide so learners
with poor fine-motor coordination are still able to
play with ease.
• Physically and mentally challenged individuals can
play marimbas and be part of a marimba band.
• Fine- and gross-motor coordination are constantly
being worked on when the learners are playing
marimbas.
• Learners who do not have dexterity in their fingers
for whatever reason often find it difficult, if not
impossible, to play a melodic musical instrument.
The marimba offers these learners the opportunity
to play a melodic instrument.
• The nature of the music for marimbas is such
that there are very easy parts and then there
are parts that are graded according to abilities.
• By using dummy keyboards in the classroom
every learner is focused on playing at the same
time. This alleviates discipline problems.
• All genres of music can be played on marimbas.
• With imagination, patience and a sense of fun
the music classroom is transformed into a
magical soundscape.
• The instruments sell themselves in the
classroom and EVERYONE wants to play!
ASSESSMENT
ASSESSMENT OF A MARIMBA PIECE
RUBRIK
1
2
3
4
5
6
Has very little
concept of the
rhythm and the
notes of the part
Has very little
concept of the
rhythm and the
notes of the part
Weak rhythmic
sense with less than
half of the notes
well known
Weak rhythmic
sense with less than
half of the notes
well known
Fair rhythmic sense
with more than half of
the notes well known
Mostly steady rhythm
with a few incorrect
notes
Steady rhythm with
notes mostly correct
Excellent rhythm,
correct notes
Fair rhythmic sense
with more than half of
the notes well known
Mostly steady rhythm
with a few incorrect
notes
Steady rhythm with
notes mostly correct
Excellent rhythm,
correct notes
MELODY
Has very little
concept of the
rhythm and the
notes of the part
Weak rhythmic
sense with less than
half of the notes
well known
Fair rhythmic sense
with more than half of
the notes well known
Mostly steady rhythm
with a few incorrect
notes
Steady rhythm with
notes mostly correct
Excellent rhythm,
correct notes
ENSEMBLE
Is not able to play
an independent part
with others
Is able to keep an
independent part
going for a only a
bar or two
Is able to play an
independent part with
others for at least half
the piece
Is able to play an
independent part for
more than half the
piece
Is able to play an
independent part with
others with very little
rhythmic inaccuracy
Sensitive to other
players, keeps
playing no matter
what!
TECHNIQUE
None of the five
rules adhered to
1 of the 5 rules
adhered to
2 of the 5 rules
adhered to
3 of the 5 rules
adhered to
4 of the 5 rules adhered
to
All 5 rules adhered
to.
BASS
PART
2ND
PART
TECHNIQUE RULES
•
•
•
•
•
BOUNCING STICKS
ALTERNATING HANDS
NO INDEX FINGER ON THE BEATERS
PLAYING IN THE MIDDLE OF THE BARS
NO “BANGING”
THE IMPORTANCE OF THE EDUCATION AFRICA
INTERNATIONAL MARIMBA AND STEELPAN FESTIVAL
•
•
•
•
•
INCLUSIVITY
SOCIAL COHESION
SOCIAL CHANGE
NETWORKING
OPPORTUNITIES
INTERNATIONAL MARIMBA AND
STEELPAN FESTIVAL 2014
• DATES: 2nd AND 3rd AUGUST 2014
• VENUE: ST BENEDICT’S COLLEGE HARCUS
ROAD BEDFORDVIEW GAUTENG
• Email: joan@educationafrica.org
• WEBSITE:
www.internationalmarimbafestival.org