Colour Charts

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‘The slave trade is glossed over in schools,' agrees Eastmon, ‘but it's something which is vital in understanding the history of carnival and contemporary music. Children on our courses are taught that music is inter-related and reaches out all over the world.' Ibrahiim sees activities like drum lessons as a way making education relevant and representative to Afro-Caribbean children. ‘It's a challenge for kids inspired by the music at home to appreciate music at school,' she says. ‘It's difficult for them to relate to.

Music education is still very centred on the European tradition and black kids are often rejected by music colleges because they don't play an instrument as such, but they can make music using technology and their voice.' Ibrahiim also encourages Afro-Caribbean music to be taught in a different way to classical and other forms.
She believes that it's vital for music educators to explore a different approach to teaching and place the emphasis on the culture the music has its roots in: ‘Although it's not something which is appreciated as a solo instrument in England, the drum is the most dominant instrument in black music, but it's only ever seen as a solo instrument in special concerts or workshops. Afro-Caribbean music has had a massive influence on contemporary society and this can be seen and heard through street and pop culture.

The sounds of Jamaica and Africa are echoing through the decades in newer forms of expression like rap, dancehall, garage and grime and through the technology of sound systems and dubplates, which is music young people of all backgrounds are experimenting with on PCs and their mobiles. Teaching many forms of music traditions can pose difficulties in the classroom. Aaron Jackman is a National Curriculum teacher in Leeds who undertook postgraduate research in this area. His concern is that by touching on many traditions and genres the newer and more inclusive National Curriculum is plumping for breadth and not depth, to the detriment of the appreciation and understanding of black music. ‘Schools are starting to teach hip-hop. You have to ask whether hip-hop is seen genuinely as a genre worthy of study or if it's just that schools want to appear cool and down with the kids,' he says. ‘If they don't get the right people to teach it they may end up reinforcing stereotypes of black people.

‘I think black music would be better taught as part of an alternative or specialist syllabus,' continues Jackman, ‘and you need to teach more than the music - it's about history and culture also. Rhythm is a part of us all and definitely something which can be utilised more in schools and teaching Afro-Caribbean music can be a way to do that.'

‘Coming from a third world country,' says Eastmon, ‘I've always been impressed with access to music tuition and the provision of extra-curricular activities in schools.' Eastmon encourages more inclusive syllabuses but like Jackman he has reservations as to how this will be carried out. ‘If it's just another tokenistic New Labour political correctness drive then there is a danger of music being taught badly. Teaching hip-hop, or performance poetry, on the curriculum could be an effective way of increasing participation though, as it's inexpensive and you don't have to be a brilliant musician to get involved.'

John Alker is a music teacher in a further education college in Lancashire . As a former external verifier for schools he has seen many twists and turns in music education over the years. ‘Education needs to respond to the tradition; it shouldn't be imposed from above, music teachers should work with what is local. In post-industrial areas where the kids are into thrash metal it would be ridiculous to try and do reggae. It has to be organic and come out of the soil,' he says. He's seen many politically correct agendas fail in the classroom but believes that further education has responded to the changes in culture. ‘A lot of universities are still quite sniffy, but at colleges you can study music technology and incorporate whatever it is you're into in your studies and consequently there's a racially diverse mix of students in further education.'

Institutionalised racism is something which Eastmon has experienced regularly in his position at the ACMC but this makes him all the more determined and convinces him of the importance of its work: ‘My bank manager told me to change our name. The terms Afro-Caribbean and music are seen to be unattractive and high risk to investors. If we were an orchestra, which is seen as respectable, we wouldn't have as many issues.' Given that orchestras still receive the bulk of music funding, should we consider the music world to be racist? ‘It's a sea of insecurity and there are prejudices, but you can either complain about it or see it as a challenge. People generally fear the unknown and that applies to here and in Africa too. Whatever we can do to improve race relations, even if it's on a small scale, has to be worthwhile.'

Contact Details

African and Caribbean Music Circuit
Charles House,
375 Kensington High Street , London
0207 602 7379