One of the most upsetting consequences of recent world events is the effect it is having on children. From a teaching and parental point of view, I have never before come across so many anxiety-based mental illnesses in children, and girls seem to be disproportionately suffering. As professionals, we may be floundering, bewildered and not sure what to do about it; this societal crisis may well feel too big for us to handle.
I'm not here to judge – I'm flapping around just like everyone else – but I do have a few thoughts about how we may be able to lessen the impact that current events are having on children. I have adapted aspects of my teaching, which I believe have helped my own reaction (and therefore the effect it has on others), if nothing else.
There are immediate and clear advantages of teaching instrumentally and one-to-one. We are able to observe children more closely, assess their response, and adapt accordingly. While as a percussionist there are specific tools available to deal with upset or anxious children, there are also parallels that we can all draw on. Percussion teaching is often uniquely able to cope with the boredom and/or ‘plateauing’ issues that can be brought into the teaching room. We have the ability to ‘move sideways’ onto another instrument, while essentially reinforcing the same message; if I am trying to nail a steady pulse for example, there is no reason why this can't be done on a djembe, xylophone, timpani (if you're lucky enough to have them), as well as the snare drum and drum kit. In other words, there are more options for variety, thus at least partially mitigating the competitive distractions of over-stimulated children.
Improvisation is another area where percussionists may have more immediate rewards. For example, answering phrases can be attempted very early – even my beginners can respond to a musical idea in a way that would be much harder on, say, a brass instrument. Nevertheless, it is the sort of approach that can be attempted broadly and may allow a pressure release as well as a creative response in children.
Other concepts that have evolved over time are:
- Thinking very deeply about what we are trying to do as music teachers; it's worth reminding ourselves that, in 99 per cent of cases, we are training learners to become good amateur musicians. These in turn will develop into future fans, concertgoers, and investors into musical activities. Is it necessary, therefore, to pursue some of the ‘duller’ or rarely used techniques?
- Trying to meet the children ‘where they are at’ is often a good starting point; this is not the same as trying to be cool or simply lax. Accepting what pupils are interested in and adapting and moving in tandem with them seems to work and produce progress. Equally, the same applies if students come to lessons with almost no knowledge or interest.
Exam boards have made frantic attempts to catch up with societal changes and have come up with some good ideas:
- Digital exams for some learners work and can reduce the ‘taking a penalty’ type of pressure. I use them sparingly, but they have become a useful option.
- If creatively used, syllabuses can be tailored to support the strengths and weaknesses of children – a wider choice of repertoire, genuine thought about when is appropriate to tackle supporting tests, and a broader choice of qualifications at the early and advanced ends of the spectrum.
Finally, and perhaps most controversially, a word on practice. Many of my colleagues get really fed up with poor or even total practice avoidance by learners, and some seem to get too bogged down with this issue. My take on it is this: the most important thing is that students understand and can ultimately enact on your teaching – how they get there doesn't really matter. Avoiding asking the question can be a safer option. The more able students will obviously get there quickly and the less able will take some time, with or without practice. We all know it's desirable, but enforcing it could be setting up an avoidable tension.
