Department of Performing Arts

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Browsing Department of Performing Arts by Author "Ekadu, Peter Ereu"

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    Between promise and pragmatism: teacher and student perceptions of artificial intelligence in secondary school music education in Mbarara city, western Uganda
    (European Journal of Contemporary Education and E-Learning, 2026-07-22) Busobozi, Nicholas; Ekadu, Peter Ereu
    Artificial intelligence (AI) is increasingly positioned as a transformative force in global education, yet its implications for music education in sub-Saharan African secondary schools remain critically underexplored. This study examined teacher and student perceptions of AI in secondary school music education in Mbarara City, Western Uganda, with particular attention to opportunities, structural constraints, and ethical dimensions. A qualitative multiple-case study design was employed across six purposively selected schools two urban modern, two peri-urban, and two remote to capture the full spectrum of resource conditions in the region. Data were collected through semi-structured interviews with 12 music teachers (T1–T12) and 6 head teachers (HT1–HT6), four focus group discussions with 60 lower secondary students (FGD-1 to FGD-4), and key informant interviews with 2 curriculum specialists (CS1–CS2) between February and June 2026 (N = 80). Thematic analysis produced three salient themes: guarded optimism about AI's pedagogical affordances, structural and institutional constraints limiting access and implementation, and ethical and cultural tensions arising from concerns about AI's alignment with indigenous Ugandan musical values. Guided by the Technology Acceptance Model (Davis, 1989), Vygotsky's (1978) sociocultural theory, and Gay's (2010) culturally responsive pedagogy framework, the findings reveal a pronounced digital divide between urban and remote schools and a coherent pattern of principled pragmatism among participants. Ethical concerns centred on cultural authenticity, data bias, and intellectual ownership. The study contributes to the emerging discourse on AI in African music education and offers evidence-based recommendations for policy, practice, and research.
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    Integrating indigenous music instruments into Uganda's competency-based curriculum : a qualitative multiple-case study of opportunities, challenges, and decolonial pathways in Wakiso district secondary schools
    (European Journal of Contemporary Education and E-Learning, 2026-06) Busobozi, Nicholas; Ekadu, Peter Ereu
    Uganda's Competency-Based Curriculum (CBC) for lower secondary schools signals a transformative shift toward learner-centred, contextually responsive education, yet integration of indigenous music instruments Adungu (bow-harp), Endingidi (tube-fiddle), Akogo (lamellaphone), Engoma (drums), and Enanga (trough zither) into formal music education remains substantially underexplored. This qualitative multiple-case study investigated the opportunities, challenges, and decolonial pathways for integrating indigenous instruments into CBC music education across six secondary schools in Wakiso District, Uganda. Drawing on decolonial pedagogy, indigenous knowledge systems theory, and sociocultural learning theory, the study employed lesson observations, semi-structured interviews, focus group discussions, and document analysis with 114 participants: 18 music teachers, 90 learners (S1–S4), and six school administrators. Thematic analysis revealed four opportunity themes CBC's competency orientation, cultural relevance imperatives, learner-centred pedagogies, and assessment flexibility alongside four challenge themes: instrument scarcity, teacher capacity gaps, colonial curriculum legacies, and resource inequities. Four decolonial integration pathways emerged: community-school partnerships, teacher professional development grounded in indigenous epistemologies, curriculum localisation embedding indigenous instruments as core content, and policy advocacy for equitable resource allocation. Findings demonstrate that indigenous instruments can operationalise CBC principles while advancing educational decolonisation, but systemic barriers require coordinated intervention across policy, pedagogy, and resource provisioning. The study contributes empirical evidence to inform curriculum implementation, teacher education reform, and culturally responsive music pedagogy in Uganda and comparable postcolonial contexts globally.
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    Intergenerational transmission of Adungu (Bow-Harp) musical knowledge in Bweyale-Karuma, Uganda : a phenomenological study of indigenous pedagogy, embodied Learning, and decolonial Praxis
    (European Journal of Contemporary Education and E-Learning, 2026-05-31) Busobozi, Nicholas; Ekadu, Peter Ereu
    The Adungu, a multi-stringed arched bow-harp indigenous to the Alur and Lugbara communities of north-western Uganda, represents one of East Africa’s most architecturally sophisticated traditional instruments. Despite its ceremonial significance and growing presence in formal music education contexts, the pedagogical mechanisms through which Adungu musical knowledge is transmitted across generations remain substantially undocumented in scholarly literature. This qualitative phenomenological study investigates how master Adungu players in Bweyale-Karuma a multi-ethnic community in Kiryandongo District renowned across Bunyoro Kitara Kingdom for producing the finest Adungu instruments and most accomplished players transmit complex musical, cultural, and embodied knowledge to apprentices. Drawing on six months of intensive fieldwork (February–July 2025), the study employed Interpretive Phenomenological Analysis (IPA) to generate rich, experience-near accounts from eighteen participants: six master players, nine apprentices at varying stages of learning, and three cultural leaders. Data were generated through semi-structured interviews, participant observation across rehearsal and ceremonial performance contexts, and audio-visual documentation of teaching interactions. Thematic analysis following Braun and Clarke’s (2006) six-phase framework revealed seven interconnected transmission mechanisms: graduated tonal scaffolding, ensemble interdependence, embodied string memory, improvisation within communal constraints, master-apprentice mentorship, contextual performance immersion, and cultural narrative integration. These mechanisms constitute a sophisticated distributed pedagogical system that challenges deficit assumptions about oral, non-notational music education and offers critical insights for decolonial music education theory and Uganda’s Competency-Based Curriculum reform.