MUSIC


e learned hagossians


Sometimes players would stop to allow others to


take a lead or solo. The rhythm moved from 6/8 to 4/4 and elsewhere. Complex polyrhythmic layers would develop, with players adding subtle shifts of emphasis and driving the piece in a new direction. The Chagossian musicians now form an important


element in all our concerts, both as musicians and highly skilled dancers. Last year I took a group to perform for music teachers at the Royal College of Music, and this year they formed an important part of our choir performing at the Music for Youth National Festival. “School music at its best,” was how the adjudicators described it. My work with the Chagossians has made me realise


the following things. The social environment of the class can cause


students to conceal skills and knowledge. As an unconfident minority of newcomers, the Chagossians were reluctant at first to reveal their musical skills and cultural heritage. They really did not want to stand out in any way. It was only when they were strongly encouraged and then grouped together that they felt confident enough for their skills and culture to be properly revealed. Confidence and security create growth. As well as


feeling ill-at-ease in classes when they first arrived, many had compounded this by internalising the idea that they were in a “superior” culture. This was reinforced by an insistence that they should only speak English at school (even though their English was very poor). Many felt sure they would not be able to participate in lessons or answer any questions. This created a nervousness – even in music lessons. An inflexible curriculum, which does not take


into account the actual students in the class, can bury talent. Our required schemes of work and target-driven school systems initially did not allow their musicality to shine. It was only when I departed from them that the Chagossians became liberated. Even the finest Olympic athletes would appear incapable if the curriculum only allowed them to copy diagrams of the human body and be tested on the mechanics of running. Do we have the flexibility and opportunities in our classrooms for real talent to be revealed?


and immediately started drumming with a level of skill and style that was very surprising. This encouraged two of the others to join in, providing complementary rhythms on djembes. A girl in the group picked up a triangle and provided a highly syncopated backbeat


‘ SecEd • October 14 2010 ’ Music blossoms in a social context and when it is


integral to the community. The Chagossian students use music as a means of social bonding and communication. It is a team effort with each individual voice important: “Music is life”, one of them said to me. And in our own schools and society? I am ashamed


to say I don’t think we quite measure up. Although music education in the UK has a lot to be proud of, music has become divorced from a shared social context both in society and school. The conversion of music into a consumer product, the emphasis on “fame” in society, combined with the test, level and target-obsessed culture of our education system tend to alienate us from the essential life-force of music. Their music and the musical skills are handed


down aurally – oral and aural learning combined with physical dexterity. When I ask where they learned I get a wide variety of responses – from a grandfather, a cousin, an uncle, at school, at the scouts, by playing with friends on the beach for tourists. Music is also seen as a physical skill and sensation. Their whole being is involved in the playing and singing: emotions, feelings of fellowship and the body. Having recognition for their music has made them


feel more confident and accepted at school. I have tried to make sure all the teachers and pupils in the school know about what they can do. They are now viewed quite differently by staff and pupils, but above all by themselves. They now see that they are important members of our school community and that they and their full cultural identity is becoming valued. Their success in music is transforming their achievement across the school.


SecEd


• Patrick Allen is head of music and chair of arts at Ifield Community College in Crawley.


Further information


• Mr Allen’s blog about this project is at http://iccmauritian.blogspot.com/


• The choir’s website outlines other projects and can be found at www.ifieldchoir.com


• Visit the UK Chagos Support Association at www.chagossupport.org.uk


The new boy chose to work with congas,


Inspiring: The Chagossians pictured outside the Houses of Parliament after they performed at the National Association of Music Educators. Some of the group also joined the school’s Panarama Choir at Birmingham Town Hall during the National Festival of Music for Youth


Headteacher's PA of the Year Awards 2010


An opportunity to recognise and celebrate the people who are at the heart of a successful school


One of the most vital jobs performed in any secondary school is that of the PA to the headteacher.


The PA is invariably the confidante of the head and a key link with the staffroom, the governors, parents and pupils. Good PAs are an invaluable asset and few schools can operate efficiently or effectively without them.


In acknowledgement of this essential role, SecEd is proud to organise for the fifth year running, in association with UNISON, the SecEd Headteacher's PA of the Year Awards 2010, which will celebrate the achievements, commitment and success of the modern headteacher's PA.


Only PAs to the headteacher or deputy headteacher of a secondary or middle school (state, special or independent) may be entered. Nominations will only be accepted from the head or deputy head. To enter, write a statement of 500 to 700 words explaining why the nominated PA deserves the award.


Nominations should be sent to SecEd editor Pete Henshaw on the email below by no later than Monday, November 1, 2010. Full information and guidance for nominators is available upon request.


Email: pete.henshaw@markallengroup.com


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