V. MSILA
afford opportunities to reach the widest possible audience.
This paper looks at teacher practice in a history classroom
where the teacher teaching South Africa’s struggle history uses
the protest song as a primary source. The teacher mainly used
songs composed by the South African Congress of Trade Union
(SACTU) activist Vuyisile Mini. This trade unionist was also
an African National Congress (ANC) member who was hanged
by the apartheid government in November 1964. The main
question asked was: What can educators and pupils learn in
history classrooms where songs were used as primary sources?
Pedagogy and Song in the Classroom
Van der Merwe (2007) points out that theories of cognitive
psychologists such as Bruner support the idea that knowledge
and skills are synergistic and are established through integration,
interrelationships and interconnectedness which increase learn-
ing. Songs and the arts should be accorded a place in all curric-
ula to actualize this integration in the classroom. Kramer (2001)
also writes about the benefits of using songs in the classroom.
He points out that they offer mnemonic codes, such as repeti-
tion, rhyme, and melody that help the listener’s memory. In the
second language classroom songs have an even special value.
“Since many students enjoy listening to songs in their native
language, the teaching of songs in the foreign language (FL)
classroom can help motivate students to learn” (Kramer, 2001).
Brewer (1995) points out that the intentional use of songs in the
classroom will set the scene and learning atmosphere to en-
hance the teaching and learning activities. Brewer lists a num-
ber of aspects that are accentuated by songs in classrooms and
these include:
Creating the desired atmosphere;
Energizing the learning activities;
Improving memory; and
Enhancing imagination.
All these show that the songs can make learning effective.
Carlson (2010) contends that the songs are able to make per-
sonal and world connections to the content studied. Moreover,
the pupils are able to think critically about the issues raised by
the content studied and song.
Levey and Byrd (2011) also cite White and Cormack (2006)
who explain how music diminishes as pupils progress in grades
at school. Levy and Byrd (2011: p. 64) writes:
However, they proposed that music has a definite application
to the secondary education, social studies classroom. Accord-
ing to their article, older music can enhance understanding of
history and contemporary songs can assist students in critically
examining societal problems like “poverty, racism, abuse, and
additions and such global issues as hunger, disease and war”
(White & McCormack, p. 122).
As history pupils listen to songs and sing songs they are
guaranteed of active listening. Whitmer (2005) underscores this
need to integrate songs into the lesson plan. She states that
learners need to be taught active listening and songs can help
the pupils set the scene. Moreover, the song can give the learn-
ers a multidimensional, perceptual, and interactive experience
of history (Van Der Merwe, 2007). Heyning (2011) also per-
ceives music as invaluable as a teaching tool which should be
used across the curriculum because it addresses a number of
aspects including differences in people; in aptitude, interest and
inclination. Heyning (2013:22 aptly puts it, “children learn best
about the world by listening, thinking, acting and integrating
new experiences—experiential learning is the format in which
we own our own learning whether we are a child or an adult”.
The Study
The study emanated from the history teacher’s own action
research. She had been reflecting on her use of music and songs
in her history classrooms for more than four years. Action re-
search is a strong tool for change and improvement at the local
level (Cohen, Manion, & Morrison, 2009). Action research has
been used widely when teachers want to replace traditional
methods by a discovery method. The researcher collected data
through qualitative research methods where the history teacher’s
two secondary school classes were observed. Apart from a
month’s classroom observations, the researcher interviewed the
teacher as well as ten learners. Three one hour classes were
observed each week and the researcher was a non- participant
observer. Among others, the observation schedule included
observation of classroom participation, level of interest in the
lesson, how the songs connect with the lesson, how the teacher
utilized the songs. The researcher observed groups of pupils as
they sang along some of the songs before discussions. He also
listened to the group discussions as learners interpreted the
lyrics trying to link them to particular events in history.
Mini and the Freedom Song
In her first lesson of introducing Mini’s songs in her class-
rooms, the educator gave a brief historical background about
the composer, demonstrating his pictures in the classroom and
playing an audiotape of his last words before he was executed
in November 1964. The teacher played an audio recording of a
reader who was reading Mini’s written response to the apart-
heid police who were offering him and his two fellow accused
clemency should they denounce the ANC struggle and work
for the system instead. Mini wrote about this communication
with the security branch in 1964:
I am presently awaiting execution at Pretoria Central Gaol
having been sentenced to death at the beginning of the year. On
October 2, 1964, Captain Geldenhuys and two other policemen
came to see me. They asked if I had been informed that my ap-
peal had been dismissed. I told them I was not interested to
know from them what my advocate said. They then said there
was still a chance for me to be saved as they knew I was the big
boss of the movement in the Eastern Cape. I must tell them
where the detonators and revolvers were, and they would help
me. I refused. They then asked me about Wilton Mkwayi (sub-
sequently sentenced to life imprisonment) and whether I was
prepared to give evidence against Mkwayi whom they had now
arrested, I said no, I was not. When they asked would I make
the Amandla Ngawethu salute when I walked the last few paces
to the gallows, I said yes.
Just this background or extract used by the teacher was
enough to involve the pupils who immediately described the
character of the writer of the above words. When the teacher
first played the recording of the above words, there was silence
which reflected pathos and in class. After the playback of this,
the teacher asked the pupils to imagine to have met Mini and
now they had to imagine as they talked about his personality.
Each group presented a page on “the kind of a person Mini
was”. This was then followed by a 30 minutes discussion by the
Open Access
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