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ABSTRACT
For over four decades ‘The Oily Chart Opera Company’ have annually produced and performed a Gilbert and Sullivan Savoy opera in Pretoria, South Africa. In this strictly amateur group, designed to allow busy people to participate over six to seven weeks, members undertake all the roles on stage as well as making costumes and stage sets. Unique to the group is a single music ‘coach and accompanist’ having served for 45 years and many of the current members having performed in all of the Gilbert and Sullivan operas more than once. Data was gathered in a survey forming part of a research project Spirituality and Well-being: Music in the community. Interpretative Phenomenological Analysis was used to code the data into four broad themes: Joining, Learning and Leadership, Benefits of Community Music, Connections to Well-being and Spiritual Connections. The findings show the typical benefits experienced by those who perform regularly in groups, although this group draws special joy from their strict focus on Gilbert and Sullivan's operas. They also understand the spiritual connection to their music in the familiar dual categories of religious and secular spirituality. This particular group of performers is keeping Savoy operas alive in modern-day sub-Saharan Africa.
Disclosure statement
No potential conflict of interest was reported by the authors.
Notes
1. From ‘The Mikado’.
2. G&S operas are also widely known as the Savoy operas, relating to the fact that they were mostly performed at the Savoy theatre, the building of which could initially be afforded because of their commercial success.
3. The 1971 team comprised Piano, 2 Violins, Tympani and a Horn!
4. Official initials as opposed to the name Tony by which he was commonly known.
5. Haarhoff & Korf's use of the Afrikaans equivalent of operetta is here maintained in translation, although the G&S/Savoy productions are most commonly known as operas, despite often being light operas/musical comedies – the typical description of the difference between operetta and opera.
6. Believing this achievement to be significant, an attempt was made to have it recognised in the Guinness Book of Records. The request was unfortunately turned down on grounds of ‘lack of general interest’.
7. Always in the printed programme is a note to the effect that ‘This performance is solely for the enjoyment of the cast: any enjoyment derived by the audience is coincidental and not intended’.
8. It is not certain how many of those emailed per the available list actually received the questionnaire.
9. Officially known as the Musical Director.
10. Article in preparation. The Oily Charters are, however, a larger group and so the possibility of such uniformity is far less likely. The answers to question 5 (relating to this issue) have not been analysed for this article, as not necessarily being in line with the aims of this specific research project. It is, though, the intention to continue with such analysis in follow-up research.
11. From ‘HMS Pinafore’.
12. From ‘The Mikado’.
13. From ‘The Pirates of Penzance’.
Additional information
Notes on contributors
Roy Page-Shipp
Roy Page-Shipp is a physicist and retired Science Research Manager who has taught part-time at the Gordon Institute of Business for over 15 years. A lifelong singer, he has developed interests in various aspects of music and music education.
Dawn Joseph
Dawn Joseph is Associate Professor at Deakin University, Australia. She publishes and reviews in national and international journals in music education, teacher education, African music, cultural diversity, community music, multiculturalism and ageing and well-being.
Caroline van Niekerk
Caroline van Niekerk is Emeritus Professor of Music Education at the University of Pretoria, South Africa. During her professorial tenure of approximately 20 years she successfully supervised over 100 masters and doctoral students.