02699nas a2200325 4500000000100000008004100001260001200042653001400054653001500068653001100083653002600094653002600120653002500146100001500171700002000186700001100206700001400217700001500231700001300246700001700259700001500276700001300291700001200304245007300316856004800389300000900437490000700446520190600453022001402359 2020 d c07/202010a Eswatini10a education10a music10a qualitative research10a snakebite envenoming10acommunity engagement1 aErickson L1 aLitschka-Koen T1 aPons J1 aBulfone T1 aBhendile G1 aFuller S1 aHarrington E1 aHarrison J1 aSamuel S1 aLewin M00aThe 'Snake song': a pilot study of musical intervention in Eswatini. uhttps://www.rrh.org.au/journal/article/5494 a54940 v203 a
INTRODUCTION: In Eswatini in Southern Africa, rural populations experience unnecessary snakebite-inflicted injuries and deaths. Children are at the highest risk because of their small size and curious nature. This qualitative study explores the current knowledge and attitudes about snakebite, and the perceptions of a musical intervention, titled Iculo ngenyoka ('Snake song' in Zulu), as an educational tool aimed to raise awareness about snakes in the Lubombo region, Eswatini.
METHODS: Semi-structured interviews with community members (n=56), parents/guardians/key informant (n=11) and children aged 7-17 years (n=45) were conducted between May and June 2018. Participants were selected from four communities within the Lubombo region. Data were analyzed using a framework analysis approach.
RESULTS: The current sources of snake education evolved from information learned in the homesteads, schools, and through personal experiences. The majority of interviewees perceived music as a culturally appropriate, engaging and memorable method to learn about snakes. Iculo ngenyoka was perceived as an effective tool to raise awareness about snakes in the community.
CONCLUSION: This study is the first to explore the importance of musical interventions in educating vulnerable communities about snakes. The Iculo ngenyoka song offers a portable medium for communicating messages about snakebite prevention, affirming the value of snakebite awareness and promoting cooperative efforts to address the burden of snakebite envenoming in the region. The results emphasize the demand for education and the potential use of Iculo ngenyoka and similar musical tools to raise awareness about snakebite in Eswatini. Re-translation and other customizations of structured musical education tools for children could be applied broadly if shown to be effective.
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