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The Limits and Ambivalences of Postcolonial Consciousness in Mbunga’s Church Law and Bantu Music

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dc.creator Sanga, Imani
dc.date 2016-03-14T11:51:49Z
dc.date 2016-03-14T11:51:49Z
dc.date 2013
dc.date.accessioned 2018-04-18T11:50:12Z
dc.date.available 2018-04-18T11:50:12Z
dc.identifier Sanga, Imani. 2013b. The Limits and Ambivalences of Postcolonial Consciousness in Mbunga’s Church Law and Bantu Music. Yearbook of Traditional Music 45: 125—141.
dc.identifier http://hdl.handle.net/123456789/920
dc.identifier.uri http://hdl.handle.net/123456789/10625
dc.description Full text can be accessed at http://www.jstor.org/stable/10.5921/yeartradmusi.45.2013.0125?seq=1#page_scan_tab_contents
dc.description This article focuses on a book entitled Church Law and Bantu Music: Ecclesiastical Documents and Law on Sacred Music as Applied to Bantu Music by a Tanzanian Roman Catholic priest, the late Stephen Mbunga. In this book, Mbunga strongly defends the use of African music in Roman Catholic Church services in Africa. He interprets Catholic laws and various directives given by top officials in the church and argues that the use of African music in that church is consistent with and can be done in accordance with these laws and directives concerning church music. He also proposes practical ways through which musicians can undertake the task of composing African music that are appropriate for church services. This article identifies and discusses various deadlocks in Mbunga's project and argues that Church Law and Bantu Music, like many other African nationalistic projects, is characterized by ambivalences of the postcolonial consciousness and is shaped largely by the postcolonial condition of its time.
dc.language en
dc.subject Church Law
dc.subject Bantu Music
dc.subject Sacred Music
dc.title The Limits and Ambivalences of Postcolonial Consciousness in Mbunga’s Church Law and Bantu Music
dc.type Journal Article


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