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

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dc.creatorSanga, Imani
dc.date2016-03-14T11:51:49Z
dc.date2016-03-14T11:51:49Z
dc.date2013
dc.date.accessioned2018-03-27T08:43:37Z
dc.date.available2018-03-27T08:43:37Z
dc.descriptionFull text can be accessed at http://www.jstor.org/stable/10.5921/yeartradmusi.45.2013.0125?seq=1#page_scan_tab_contents
dc.descriptionThis 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.identifierSanga, 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.identifierhttp://hdl.handle.net/123456789/920
dc.identifier.urihttp://hdl.handle.net/123456789/3232
dc.languageen
dc.subjectChurch Law
dc.subjectBantu Music
dc.subjectSacred Music
dc.titleThe Limits and Ambivalences of Postcolonial Consciousness in Mbunga’s Church Law and Bantu Music
dc.typeJournal Article

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