Kaghondi Wamwa Mwanga
Biographic Data
| ID | 391101 |
|---|---|
| NAME | Kaghondi Wamwa Mwanga |
| GIVEN NAMES | Kaghondi Wamwa |
| FAMILY NAME | Mwanga |
| SIGNATURE | MWANGA K W |
| AFFILIATIONS | Department of Music, Tumaini University Makumira, Arusha, Tanzania |
| ORCID | 0000-0003-4746-0728 |
| VERIFIED | Yes |
| TOTAL WORKS | 2 |
| TOTAL CITATIONS | 0 |
| AUTHOR COUNT | 2 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 2022 |
| LATEST PUBLICATION YEAR | 2025 |
| H-INDEX | 0 |
On decolonising music diversity in/and higher education
The practice of music diversity is colonialized. Its model is impotent to disrupt the Western canon. On the contrary, the practice has opened the door to sonic materialization and trafficking that has become indicative of the encounter between classical music and other music traditions in higher education. The Global South has become the mining area, while Western institutions “explore” indigenous music to repair the status quo. The thesis of thi…
Re-membering the Postcolonial Musical Audience with Indigenous Soundscapes: Mbeyu NjijaMusic-Video Documentary in Tanzania
There is a direct link between the Church musical audience and displaced indigenous music traditions in Tanzanian university programmes. Currently, many students admitted to tertiary institution music programmes come from a Church-based music background and hence their attitudes are governed by the colonial mentality that indigenous music is “heathen” and “evil”. Their views are reinforced by the Eurocentric curriculum that still perpetuates anti…
No prominent works on this page.
Re-membering the Postcolonial Musical Audience with Indigenous Soundscapes: Mbeyu NjijaMusic-Video Documentary in Tanzania
There is a direct link between the Church musical audience and displaced indigenous music traditions in Tanzanian university programmes. Currently, many students admitted to tertiary institution music programmes come from a Church-based music background and hence their attitudes are governed by the colonial mentality that indigenous music is “heathen” and “evil”. Their views are reinforced by the Eurocentric curriculum that still perpetuates anti…
On decolonising music diversity in/and higher education
The practice of music diversity is colonialized. Its model is impotent to disrupt the Western canon. On the contrary, the practice has opened the door to sonic materialization and trafficking that has become indicative of the encounter between classical music and other music traditions in higher education. The Global South has become the mining area, while Western institutions “explore” indigenous music to repair the status quo. The thesis of thi…
Indigenous (2 works) · Pedagogy (2 works) · Political science (2 works) · Sociology (2 works) · Aesthetics (1 works) · African studies and sociopolitical issues (1 works) · Anthropological Studies and Insights (1 works) · Anthropology (1 works) · Art (1 works) · Colonialism (1 works)