The most daunting
challenge is teaching in a difficult foreign language. What I didn’t realize at
first is that the language of music pedagogy is tremendously complex. It can be very simple and boiled down, but
the best technical or musical explanations require imagination and spontaneity.
As a result, teaching a good lesson
in Dari (one of two national languages of Afghanistan) can be totally
exhausting. On a side note, I have a little British cello student who comes for
a lesson every week and the experience of teaching in English is unbelievably
satisfying. However, the more Dari I learn and the more I know about Afghan
culture, the easier it is to connect personally and pedagogically with my
students.
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| Cello students Nadeem and Yama |
I’m sure
Afghanistan is one of the only places in the world where the majority of the
pop music found on the radio is in 7/8 time. Most Afghan music alternates
between long instrumental unisons and vocal verses, accompanied by a driving,
relentless rhythm section. There is no harmony, chord progressions or
modulation. When you grow up listening to this music, it’s extremely difficult
to then adapt to the rigid and rule-based structures of western music. Many of
my students really struggle with rhythm and harmony, and I mean REALLY
struggle. Elements of music that I grew up absorbing on the radio and at home
(like the easy flow of ¾ meter, the feel of the leading tone, or the sound of
the tonic-dominant relationship) are just not in their bones. Even when
teaching ear-training, associating moods and characters with tonalities like
major or minor can be very problematic.
Another (far more
insurmountable) challenge is that many of the students at the school don’t have
strong, positive parental support. I see it primarily in my classes, many kids
lack both discipline and motivation. Instead of raising a hand to answer a
question, the entire class will start shouting random answers in an effort to
be heard above the crowd. Many students yearn to be praised and singled out as
smart or special or talented. I suppose this is true with most children, but I
have to wonder if the lack of assertive and involved parenting is a factor. I
also wonder if they’re accustomed to free-for-all classroom environments where
it’s essentially survival of the fittest. Interestingly, many of our students
come from an orphanage called afceco where they have a thriving little music
program and a wonderful, caring staff. Although these children are orphans,
they excel and show tremendous promise due to the dedication and support of
their caretakers. Undoubtedly, with a
discipline like music, the role of the parent (or guardian) as moderator and
enforcer is absolutely crucial.
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| Orchestra rehearsal |
All of
these obstacles come with the territory. Many of the students grew up during
the reign of the Taliban and were forbidden from playing and even listening to
music. And even after the fall of the Taliban, music has remained a
controversial field of study. The odds are set against our students, but they
continue to show up and try their best. And despite the many serious
challenges, I feel optimistic about the future. For most of these kids, music
is an extraordinary outlet; it is the thing that teaches them to strive and
struggle to accomplish something, developing self-esteem, imagination and a
feeling of artistic sensitivity. And even if none of our students pursue music
professionally, I’m certain that the experience of learning an instrument will
benefit them in unexpected ways later in life.
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