Changes in performance styles: a case study of<i>Muheme</i>, a musical tradition of the Wagogo of Dodoma, Tanzania

Mapana, Kedmon Elisha

doi:10.1080/13696810701485942

Cited by 5 publications

(5 citation statements)

References 2 publications

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“…Nindo is highly energized, and compelling to watch and listen to. Because of its complexity, it shines out as a showcase genre in which, as much as Cigogo music tends to be welcoming of others to participate, requires technique and skill—and plenty of experience together as a group (Mapana, 2007; Mnyampala, 1995; Mpepo, 2015).…”

Section: Preparationsmentioning

confidence: 99%

Learning Wagogo (Nindo) Music: Pathway Through World Music Pedagogy

Mapana

Campbell

2023

Journal of General Music Education

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In East Africa, Tanzania’s musical expressions are rich and varied, and typically a combination of music and dance. A description of Nindo, a multipart vocal music form of the central Tanzanian Wagogo community, is provided, and a tribute is offered to the legacy of an important village artist, Mchoya, of the musical form that is begin continued by his progeny. A learning pathway, following the dimensions of World Music Pedagogy, is outlined for experiencing Nindo, and resources and references are recommended for teachers to facilitate listening, viewing, singing and dancing, and developing intercultural understanding.

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Section: Preparationsmentioning

confidence: 99%

Learning Wagogo (Nindo) Music: Pathway Through World Music Pedagogy

Mapana

Campbell

2023

Journal of General Music Education

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“…There are several examples of presentational music found around the world. For example, Wagogo muheme music from Central Tanzania features female performers who sing, dance, drum, and dramatize performances (Mapana, 2007), but outsiders typically do not participate. Javanese gamelan, Japanese nagauta (Kabuki dance music), and Hindustani classical music are further examples of presentational world music traditions.…”

Section: Participatory and Presentational Performancesmentioning

confidence: 99%

Matters of Place and Space in School-Based Performances of World Music

Coppola

2020

General Music Today

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Christopher Small (1998) famously explored the role of the performance venue in framing the music experiences of audience members. While Small observed how audiences consume music in the classical symphony hall, we might also consider how performance venues frame global music experiences as well. In this article, I suggest that considering the space where music takes place can offer insights into the deeper social and cultural contexts of any given music practice. Specifically, music teachers can foster meaningful world music experiences by embracing the participatory or presentational nature of the music and seeking to reproduce these performance contexts as closely as possible. I explore ways that these ideas might play out among teachers who wish to maximize both the authenticity and integrity of their music performances, and I discuss strategies for music teachers to incorporate these suggestions into their own teaching.

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“…Known as filimbi , it has two holes on the mouthpiece and two holes down the side of the mouthpiece. The filimbi is common in most of the Wagogo music traditions (Mapana, 2007).…”

Section: Early Memories As An Mgogo Childmentioning

confidence: 99%

The musical enculturation and education of Wagogo children

Mapana

2011

Brit. J. Music. Ed.

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This article examines the musical enculturation and early education of Wagogo children of the Dodoma region in central Tanzania. In support of the enculturation premise, longstanding practices in musical enculturation among the Wagogo are described, most of which are continuing today. The Wagogo hold to the belief that the behaviours of both mother and father affect the proper development of the young child prior to birth and this sense of joint child-raising responsibilities continues even as they enter into their school years. The intent of the article is to argue that the facilitation of musical experiences for young children and teachers through music and dance is a vital component of their holistic development, and to offer an understanding of how teachers and parents might incorporate daily singing, dancing and drumming experiences into the lives of children. By providing occasions for music in the lives of young children, and by nurturing their natural musical proclivities, the traditional music of the Wagogo of Tanzania remains a living tradition, a critical component of the identity of young Wagogo children, and an important means of human expression.

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Changes in performance styles: a case study ofMuheme, a musical tradition of the Wagogo of Dodoma, Tanzania

Cited by 5 publications

References 2 publications

Learning Wagogo (Nindo) Music: Pathway Through World Music Pedagogy

Learning Wagogo (Nindo) Music: Pathway Through World Music Pedagogy

Matters of Place and Space in School-Based Performances of World Music

The musical enculturation and education of Wagogo children

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