Pub Date : 2020-07-02DOI: 10.1080/18125980.2021.1890191
Mukasa S. Wafula
Abstract The tremendous growth of choral music in Kenya over the last 50 years has largely been realised in three major establishments, namely: the Church, institutions of learning, and political arenas. Whereas choral music presents a field that can draw from diverse inquiries, the article focuses on music education as a component of choral music. It is motivated by the concern that the majority of choral trainers/directors/educators in Kenya are not products of formal choral training programmes. For the few who have obtained formal musicology, ethnomusicology and music education qualifications, observation shows that choral training or directing either forms a minimal part of, or is not included in, the various certificate, diploma or degree courses offered. Although conducting and/or art music as course units are offered in selected universities no institution of learning in Kenya offers a full course that focuses clearly on training choral trainers/directors/educators. Thus, choral directors may be the product of music training programmes other than formal school curricula. Whether in institutions of learning or the Church, the article views a choir situation as an alternative classroom, where the choral conductor/trainer/director/educator not only artistically imparts knowledge to the singers (learners), but also to prospective choral directors, hence acting as a role model. Therefore, the article demonstrates the alternative methodologies employed in Kenyan choral music. To address these concerns, the study relied on an ethnographic research approach that involved interviewing choral artistes, as well as observing how they practise their music, besides group interactive strategies.
{"title":"Appreciating, (Re)-Thinking and Diversifying Arts Education: Learning to Be a Choral Conductor/ Trainer/Director/Educator in Kenya","authors":"Mukasa S. Wafula","doi":"10.1080/18125980.2021.1890191","DOIUrl":"https://doi.org/10.1080/18125980.2021.1890191","url":null,"abstract":"Abstract The tremendous growth of choral music in Kenya over the last 50 years has largely been realised in three major establishments, namely: the Church, institutions of learning, and political arenas. Whereas choral music presents a field that can draw from diverse inquiries, the article focuses on music education as a component of choral music. It is motivated by the concern that the majority of choral trainers/directors/educators in Kenya are not products of formal choral training programmes. For the few who have obtained formal musicology, ethnomusicology and music education qualifications, observation shows that choral training or directing either forms a minimal part of, or is not included in, the various certificate, diploma or degree courses offered. Although conducting and/or art music as course units are offered in selected universities no institution of learning in Kenya offers a full course that focuses clearly on training choral trainers/directors/educators. Thus, choral directors may be the product of music training programmes other than formal school curricula. Whether in institutions of learning or the Church, the article views a choir situation as an alternative classroom, where the choral conductor/trainer/director/educator not only artistically imparts knowledge to the singers (learners), but also to prospective choral directors, hence acting as a role model. Therefore, the article demonstrates the alternative methodologies employed in Kenyan choral music. To address these concerns, the study relied on an ethnographic research approach that involved interviewing choral artistes, as well as observing how they practise their music, besides group interactive strategies.","PeriodicalId":42523,"journal":{"name":"Muziki-Journal of Music Research in Africa","volume":"17 1","pages":"89 - 107"},"PeriodicalIF":0.3,"publicationDate":"2020-07-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/18125980.2021.1890191","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47520697","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-07-02DOI: 10.1080/18125980.2021.1918020
Hester Rhoodie, Simon-Petrus du Toit
Abstract In a practice-led study, the authors explored the process followed by classical pianists when learning new repertoire at an advanced level. The study drew on accounts by professional pianists and pedagogues, as well as on case studies of the learning process in musicians. Further, the study drew on literature about practice and memorisation. It incorporated the second author’s own documented process of learning Claude Debussy’s L’Isle joyeuse. Audio recordings and journal entries from each practice session during his learning process were transcribed and a description of the learning process is presented. The process was divided into four stages, namely, initial learning, first revision, second revision (memorisation), and polishing. The results are discussed and compared with the literature. The study found that an efficient learning process reflects the late Swedish psychologist K. Anders Ericsson’s principles of deliberate practice and acquisition of long-term working memory. It further found that practice strategies which introduce contextual interference into the process could be beneficial, as could concentrated, musical slow practice. Other beneficial techniques include mental practice in order to strengthen memorisation.
在一项以实践为主导的研究中，作者探讨了古典钢琴家在学习高级曲目时所遵循的过程。这项研究借鉴了专业钢琴家和教师的说法，以及音乐家学习过程的案例研究。此外，该研究还借鉴了有关练习和记忆的文献。它包含了第二位作者自己的学习克劳德·德彪西的《欢乐岛》的记录过程。在他的学习过程中，每次练习的录音和日志记录都被转录，并对学习过程进行了描述。这个过程分为四个阶段，即初始学习，第一次复习，第二次复习(记忆)和润色。对所得结果进行了讨论，并与文献进行了比较。研究发现，有效的学习过程反映了已故瑞典心理学家K. Anders Ericsson的刻意练习和获得长期工作记忆的原则。研究进一步发现，在练习过程中引入语境干扰的练习策略可能是有益的，集中注意力的音乐慢速练习也是有益的。其他有益的技巧包括加强记忆的心理练习。
{"title":"Exploring the Efficacy of Deliberate Practice and Memorisation Skills in the Process of Learning Debussy’s L’Isle joyeuse: A Practice-Led Study","authors":"Hester Rhoodie, Simon-Petrus du Toit","doi":"10.1080/18125980.2021.1918020","DOIUrl":"https://doi.org/10.1080/18125980.2021.1918020","url":null,"abstract":"Abstract In a practice-led study, the authors explored the process followed by classical pianists when learning new repertoire at an advanced level. The study drew on accounts by professional pianists and pedagogues, as well as on case studies of the learning process in musicians. Further, the study drew on literature about practice and memorisation. It incorporated the second author’s own documented process of learning Claude Debussy’s L’Isle joyeuse. Audio recordings and journal entries from each practice session during his learning process were transcribed and a description of the learning process is presented. The process was divided into four stages, namely, initial learning, first revision, second revision (memorisation), and polishing. The results are discussed and compared with the literature. The study found that an efficient learning process reflects the late Swedish psychologist K. Anders Ericsson’s principles of deliberate practice and acquisition of long-term working memory. It further found that practice strategies which introduce contextual interference into the process could be beneficial, as could concentrated, musical slow practice. Other beneficial techniques include mental practice in order to strengthen memorisation.","PeriodicalId":42523,"journal":{"name":"Muziki-Journal of Music Research in Africa","volume":"17 1","pages":"51 - 70"},"PeriodicalIF":0.3,"publicationDate":"2020-07-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/18125980.2021.1918020","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46343126","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-07-02DOI: 10.1080/18125980.2021.1935503
Marc Duby
{"title":"Editorial","authors":"Marc Duby","doi":"10.1080/18125980.2021.1935503","DOIUrl":"https://doi.org/10.1080/18125980.2021.1935503","url":null,"abstract":"","PeriodicalId":42523,"journal":{"name":"Muziki-Journal of Music Research in Africa","volume":"17 1","pages":"1 - 2"},"PeriodicalIF":0.3,"publicationDate":"2020-07-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/18125980.2021.1935503","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45421291","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-01-02DOI: 10.1080/18125980.2021.1895534
T. Pooley
{"title":"Sikeyi: In Memoriam – Johnny Clegg (1953–2019)","authors":"T. Pooley","doi":"10.1080/18125980.2021.1895534","DOIUrl":"https://doi.org/10.1080/18125980.2021.1895534","url":null,"abstract":"","PeriodicalId":42523,"journal":{"name":"Muziki-Journal of Music Research in Africa","volume":"17 1","pages":"131 - 136"},"PeriodicalIF":0.3,"publicationDate":"2020-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/18125980.2021.1895534","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46200716","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-01-02DOI: 10.1080/18125980.2019.1635517
Adeola Ojoawo, A. Akande
Abstract “Sex sells” is a thriving trend in the hip-hop world which certainly applies to contemporary Nigerian hip-hop music, despite the Nigerian socio-cultural restriction. Studies of Nigerian hip-hop music have focused on the effects of sexual content, with a few focused on the strategies used in the discussion of sexual themes. Fewer studies, however, have examined metaphors of sex and body parts in Nigerian hip-hop music. This paper investigates the use of linguistic metaphors of sex in contemporary Nigerian hip-hop music with insights drawn centrally from the theory of embodiment and Odebunmi's approach to context. Sixteen tracks from eight contemporary Nigerian hip-hop artistes, comprising three females and five males, were selected through stratified random sampling. The selection was based on the recurring themes of sex and sexuality and wide acceptability and accessibility of their songs. The study revealed that metaphors of sex did not totally have cultural and religious allegiance, and that sex was cognitively described as a game, food, and music in the music. The work also revealed that sex linguistic metaphors were used freely in the music despite some socio-cultural restrictions. It was concluded that the use of metaphors constituted a powerful tool in understanding the perception of sexuality by youths in contemporary Nigerian hip-hop music.
{"title":"Sex Sells: Sexual Metaphors in Selected Nigerian Hip-Hop Music","authors":"Adeola Ojoawo, A. Akande","doi":"10.1080/18125980.2019.1635517","DOIUrl":"https://doi.org/10.1080/18125980.2019.1635517","url":null,"abstract":"Abstract “Sex sells” is a thriving trend in the hip-hop world which certainly applies to contemporary Nigerian hip-hop music, despite the Nigerian socio-cultural restriction. Studies of Nigerian hip-hop music have focused on the effects of sexual content, with a few focused on the strategies used in the discussion of sexual themes. Fewer studies, however, have examined metaphors of sex and body parts in Nigerian hip-hop music. This paper investigates the use of linguistic metaphors of sex in contemporary Nigerian hip-hop music with insights drawn centrally from the theory of embodiment and Odebunmi's approach to context. Sixteen tracks from eight contemporary Nigerian hip-hop artistes, comprising three females and five males, were selected through stratified random sampling. The selection was based on the recurring themes of sex and sexuality and wide acceptability and accessibility of their songs. The study revealed that metaphors of sex did not totally have cultural and religious allegiance, and that sex was cognitively described as a game, food, and music in the music. The work also revealed that sex linguistic metaphors were used freely in the music despite some socio-cultural restrictions. It was concluded that the use of metaphors constituted a powerful tool in understanding the perception of sexuality by youths in contemporary Nigerian hip-hop music.","PeriodicalId":42523,"journal":{"name":"Muziki-Journal of Music Research in Africa","volume":"17 1","pages":"4 - 22"},"PeriodicalIF":0.3,"publicationDate":"2020-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/18125980.2019.1635517","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48552374","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-01-02DOI: 10.1080/18125980.2020.1810109
Melindie Pretorius, Liesl van der Merwe
Abstract The purpose of this case study was to explore the extent to which Dalcroze-inspired activities can facilitate collective learning in a choir as a community of musical practice (CoMP). The research intervention was conducted in a newly formed multi-ethnic high school choir in Germiston, Gauteng, South Africa. Data sources included in-depth semi-structured interviews, researcher field notes of rehearsals and concerts, video recordings of weekly rehearsals, as well as lesson plans developed for each rehearsal. The data was analysed within the conceptual framework of the social theory of collective learning as developed by Wenger (1998) and expanded by Murillo's (2011) conceptualisation of: (1) engagement in practice (learning as doing); (2) a community of musical practice (learning as belonging); (3) construction of personal identity (learning as becoming); and (4) negotiation of meaning (learning as experiencing). The findings expanded the theoretical framework of collective learning. It was found that Dalcroze-inspired activities nurture collective learning and form an essential part of choristers’ feelings of belonging in a choir as a CoMP.
{"title":"Learning Collectively in a South African High School Choir Community of Musical Practice through Dalcroze-Inspired Activities","authors":"Melindie Pretorius, Liesl van der Merwe","doi":"10.1080/18125980.2020.1810109","DOIUrl":"https://doi.org/10.1080/18125980.2020.1810109","url":null,"abstract":"Abstract The purpose of this case study was to explore the extent to which Dalcroze-inspired activities can facilitate collective learning in a choir as a community of musical practice (CoMP). The research intervention was conducted in a newly formed multi-ethnic high school choir in Germiston, Gauteng, South Africa. Data sources included in-depth semi-structured interviews, researcher field notes of rehearsals and concerts, video recordings of weekly rehearsals, as well as lesson plans developed for each rehearsal. The data was analysed within the conceptual framework of the social theory of collective learning as developed by Wenger (1998) and expanded by Murillo's (2011) conceptualisation of: (1) engagement in practice (learning as doing); (2) a community of musical practice (learning as belonging); (3) construction of personal identity (learning as becoming); and (4) negotiation of meaning (learning as experiencing). The findings expanded the theoretical framework of collective learning. It was found that Dalcroze-inspired activities nurture collective learning and form an essential part of choristers’ feelings of belonging in a choir as a CoMP.","PeriodicalId":42523,"journal":{"name":"Muziki-Journal of Music Research in Africa","volume":"17 1","pages":"109 - 130"},"PeriodicalIF":0.3,"publicationDate":"2020-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/18125980.2020.1810109","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44872588","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-01-02DOI: 10.1080/18125980.2021.1904718
T. Pooley
{"title":"Editorial","authors":"T. Pooley","doi":"10.1080/18125980.2021.1904718","DOIUrl":"https://doi.org/10.1080/18125980.2021.1904718","url":null,"abstract":"","PeriodicalId":42523,"journal":{"name":"Muziki-Journal of Music Research in Africa","volume":"17 1","pages":"1 - 3"},"PeriodicalIF":0.3,"publicationDate":"2020-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/18125980.2021.1904718","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45923300","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-01-02DOI: 10.1080/18125980.2020.1810110
C. Chasi, Cuthbeth Tagwirei
Abstract The musical lyrics of the late Oliver “Tuku” Mtukudzi (1952–2019), by focusing on social-cultural values and practices, are an unexplored but valuable resource for the purpose of thinking about ubuntu and death. In this article, the authors put forward a nuanced examination of the corpus of Tuku's music on death that reveals multiple, inconsistent, contradictory and interrelated insights into how ubuntu and death speak to each other. Getting to deep understandings of some of these consistencies and contradictions requires examination of the contexts, audiences, motives, and other factors that relate to particular songs. In part because of this the authors do not seek to suggest that any contradictions or inconsistencies they identify are evidence of failures or omissions in Tuku's thoughts on ubuntu and death. Rather, they seek to recognise Tuku's appreciation for how ubuntu and death bear many contingent, commensurable, incommensurable, fragile and even unspeakable meanings in the existential course of a life – in the fearsome face of death. From this vantage point, the authors recognise and value Tuku's practices of (indirect) communication. Specifically, they aver that Tuku's indirect communication exemplifies right ways of talking about concerns relating to how people should live and die. In doing this, they offer new insights into right ways of conducting indirect communication to respectfully communicate, to produce and to reproduce desired societies in which everyone can be the most that they can be.
{"title":"Death and Ubuntu in Oliver Mtukudzi's Music","authors":"C. Chasi, Cuthbeth Tagwirei","doi":"10.1080/18125980.2020.1810110","DOIUrl":"https://doi.org/10.1080/18125980.2020.1810110","url":null,"abstract":"Abstract The musical lyrics of the late Oliver “Tuku” Mtukudzi (1952–2019), by focusing on social-cultural values and practices, are an unexplored but valuable resource for the purpose of thinking about ubuntu and death. In this article, the authors put forward a nuanced examination of the corpus of Tuku's music on death that reveals multiple, inconsistent, contradictory and interrelated insights into how ubuntu and death speak to each other. Getting to deep understandings of some of these consistencies and contradictions requires examination of the contexts, audiences, motives, and other factors that relate to particular songs. In part because of this the authors do not seek to suggest that any contradictions or inconsistencies they identify are evidence of failures or omissions in Tuku's thoughts on ubuntu and death. Rather, they seek to recognise Tuku's appreciation for how ubuntu and death bear many contingent, commensurable, incommensurable, fragile and even unspeakable meanings in the existential course of a life – in the fearsome face of death. From this vantage point, the authors recognise and value Tuku's practices of (indirect) communication. Specifically, they aver that Tuku's indirect communication exemplifies right ways of talking about concerns relating to how people should live and die. In doing this, they offer new insights into right ways of conducting indirect communication to respectfully communicate, to produce and to reproduce desired societies in which everyone can be the most that they can be.","PeriodicalId":42523,"journal":{"name":"Muziki-Journal of Music Research in Africa","volume":"17 1","pages":"23 - 45"},"PeriodicalIF":0.3,"publicationDate":"2020-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/18125980.2020.1810110","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46733907","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-01-02DOI: 10.1080/18125980.2020.1840309
E. Chitando, O. Mlambo
Abstract Music has never been politically neutral; rather, it is composed and performed in definite historical, social, political and economic contexts. Furthermore, musical lyrics often carry open or hidden political messages. The interpretation of musical texts has thus often generated contestation in different contexts. This article examines the appropriation and contested interpretation of two songs by one artist, Jah Prayzah (the stage name of Mukudzei Mukombe), in Zimbabwe during the last years of the late President Robert Mugabe’s rule. It analyses how these two songs were utilised in political struggles by different players on the Zimbabwean political scene. The article argues that the malleability of songs enabled various political groups to adopt Jah Prayzah’s song “Mdhara Vachauya” (The old man is coming!) released in 2016 to express their hopes and aspirations. Similarly, his song “Kutonga Kwaro” (His/her style of governance) was embraced by one faction in the Zimbabwe African National Union–Patriotic Front (ZANU–PF) to call for a change of guard. When Emmerson Mnangagwa, Mugabe’s deputy, assumed power on 24 November 2017, the theme song was “Kutonga Kwaro”, newly released in the same year. Its ascendancy, like his own, had been severely contested. However, musical texts are not entirely divorced from the identity of the artist. Thus, Jah Prayzah’s personality and self-presentation are also analysed in the article. The central argument is that the artist’s self-packaging, perceived political loyalties and association had a distinct impact on the reception of his music.
{"title":"“Mdhara Vachauya” (The Old Man Is Coming) and “Kutonga Kwaro” (His/Her Style of Governance): Analysing Jah Prayzah’s Music in Zimbabwe’s Tumultuous Political Context","authors":"E. Chitando, O. Mlambo","doi":"10.1080/18125980.2020.1840309","DOIUrl":"https://doi.org/10.1080/18125980.2020.1840309","url":null,"abstract":"Abstract Music has never been politically neutral; rather, it is composed and performed in definite historical, social, political and economic contexts. Furthermore, musical lyrics often carry open or hidden political messages. The interpretation of musical texts has thus often generated contestation in different contexts. This article examines the appropriation and contested interpretation of two songs by one artist, Jah Prayzah (the stage name of Mukudzei Mukombe), in Zimbabwe during the last years of the late President Robert Mugabe’s rule. It analyses how these two songs were utilised in political struggles by different players on the Zimbabwean political scene. The article argues that the malleability of songs enabled various political groups to adopt Jah Prayzah’s song “Mdhara Vachauya” (The old man is coming!) released in 2016 to express their hopes and aspirations. Similarly, his song “Kutonga Kwaro” (His/her style of governance) was embraced by one faction in the Zimbabwe African National Union–Patriotic Front (ZANU–PF) to call for a change of guard. When Emmerson Mnangagwa, Mugabe’s deputy, assumed power on 24 November 2017, the theme song was “Kutonga Kwaro”, newly released in the same year. Its ascendancy, like his own, had been severely contested. However, musical texts are not entirely divorced from the identity of the artist. Thus, Jah Prayzah’s personality and self-presentation are also analysed in the article. The central argument is that the artist’s self-packaging, perceived political loyalties and association had a distinct impact on the reception of his music.","PeriodicalId":42523,"journal":{"name":"Muziki-Journal of Music Research in Africa","volume":"17 1","pages":"94 - 108"},"PeriodicalIF":0.3,"publicationDate":"2020-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/18125980.2020.1840309","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44693183","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-01-02DOI: 10.1080/18125980.2021.1885304
James Isabirye
Abstract This article reports on a study that investigated the namadu healing ritual of the Bagwere people of Uganda. The ritual involves drumming, singing and dancing, as well as sacrificing chicks, birds and animals towards gaining spiritual, emotional and physical healing of afflicted clan members. This music and dance mediated ritual is no longer commonly performed in African indigenous communities, and has not previously received scholarly attention. The current study sought to find out the deeper meaning of this indigenous heritage; what modern society could learn from it; and its viability in a contemporary context. Ethnographic data was obtained through observation, interviews, focus group discussions, and analysis of extant videos and photographs. The findings revealed that the namadu ritual embeds cultural identity, and increases agency in communities. Further, the music and dance have been re-invented into a royal and social entertainment, and a cultural festival for the Bagwere Cultural Union (BCU) and communities, respectively.
{"title":"Namadu Drum Music and Dance as Mediation of Healing Rituals among the Bagwere People of Uganda","authors":"James Isabirye","doi":"10.1080/18125980.2021.1885304","DOIUrl":"https://doi.org/10.1080/18125980.2021.1885304","url":null,"abstract":"Abstract This article reports on a study that investigated the namadu healing ritual of the Bagwere people of Uganda. The ritual involves drumming, singing and dancing, as well as sacrificing chicks, birds and animals towards gaining spiritual, emotional and physical healing of afflicted clan members. This music and dance mediated ritual is no longer commonly performed in African indigenous communities, and has not previously received scholarly attention. The current study sought to find out the deeper meaning of this indigenous heritage; what modern society could learn from it; and its viability in a contemporary context. Ethnographic data was obtained through observation, interviews, focus group discussions, and analysis of extant videos and photographs. The findings revealed that the namadu ritual embeds cultural identity, and increases agency in communities. Further, the music and dance have been re-invented into a royal and social entertainment, and a cultural festival for the Bagwere Cultural Union (BCU) and communities, respectively.","PeriodicalId":42523,"journal":{"name":"Muziki-Journal of Music Research in Africa","volume":"980 ","pages":"46 - 71"},"PeriodicalIF":0.3,"publicationDate":"2020-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/18125980.2021.1885304","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41315674","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：