Department of Performing Arts

Permanent URI for this communityhttp://localhost:4000/handle/20.500.12504/15

Browse

Now showing 1 - 19 of 19

Can indigenous music learning processes inform contemporary schooling
(International Journal of Music Education, 2021-02-24) Isabirye, James
This autoethnographic study investigated possibility of incorporating indigenous pedagogies into Ugandan school music and, possibly, general education. School music education in Uganda currently occurs within a colonial-influenced system that does not connect with learners’ indigenous cultures. The colonial system fosters belief that “western” is modernity and “indigenous” is backwardness that should be erased. School music learning is currently experienced in a teacher-dominated, “banking” (Freire, 1970) school system that disempowers learners and produces graduates who cannot address the musical needs of their worlds. Ugandan government measures to improve music and general education have not improved the situation. Literature on the role that indigenous pedagogies could play in a contemporary music education is limited. Through this study, I sought to understand what might happen when indigenous education pedagogies are incorporated in a contemporary, formal school setting. Informed by relevant literature, I interrogated and analyzed my own learning and teaching experiences in Ugandan communities and schools and found that embedding indigenous learning and teaching processes in music classrooms fostered growth in learner leadership, ownership, agency, and identity in the context of mutually shared participatory experiences that learners found relevant and meaningful—experiences that engendered joyful, passionate, collaborative learning, and reification of reflective practice among learners.
Catholic church music festivals and the development of musicianship in Ediofe vicariate, Arua diocese (Uganda)
(Kyambogo University(Unpublished work), 2021-04) Awuta, Juliet Driwaru
This study explores how the Catholic Church music festivals in Ediofe Vicariate, Arua diocese, an annual event, became a platform for the development of musicianship among the members. In other words, the study is an investigation of how these festivals enable different people (especially the choir members) to acquire skills of conducting, performance, composition, analysis, adjudication, reading and writing of music as well as playing and tuning instruments thus becoming musicians. Although there are various vicariates that organize and participate in these festivals, I chose Ediofe Vicariate in Arua District as my Case Study, to investigate how these festivals started, developed and how they have enabled the participants to develop musicianship. The study was conducted against the background that although music festivals bring together different people, there is inadequate research on how they become a platform for taping the development of musicianship in the people who engage in them. Moreover, there was need to document the process through which these festivals were started, how they are organized and the different stakeholders who organize and participate in them. As such, I adopted a qualitative methodology, under a case study approach, to examine how these festivals are organized, the nature of repertoire and stakeholders and explore how they act as a platform through which musicianship is developed. The study has revealed that indeed music festivals in Ediofe Vicariate act as a site where participants develop musicianship. This musicianship is manifested through the acquired skills to read and write music, choir training, conducting, analyzing, adjudication, composing as well as instrumental making/playing and tuning. The choir members I interacted with during fieldwork had participated in these festivals during previous years and had acquired experience through singing, dancing and playing instruments thus becoming musicians.The objectives of this study in this study are; To examine the background of music festivals in development of musicianship among choir members of Ediofe Vicariate, Arua Diocese. To discuss the items constituting the repertoire for music festivals in development of musicianship among choir members of Ediofe Vicariate, Arua diocese. To examine the contribution of the different stakeholders in the development of musicianship among choir members of Ediofe Vicariate, Arua Diocese and to explore how music festivals can become a platform for developing musicianship in Ediofe Vicariate, Arua Diocese. The implications of the study reveals that indeed over the years there are annual festivals organized in Ediofe Vicariate Arua Diocese and these festivals have a set syllabus. Stakeholders are involved in the organization of these festival and all their roles enhance the development of musicianship among the choir members at various levels and with various capacities in understanding what is entailed in musicianship in Ediofe Vicariate Arua Diocese.
Community musicking and musical cognition among adungu music communities of the Acholi people from Awach, Gulu district, Northern Uganda
(Research Studies in Music Education, 2024-07-31) Isabirye, James
This ethnographic inquiry investigated the nature of musical cognition that engagements in the Ugandan Acholi people’s adungu music culture engender, what can be understood about musical cognition in nonwesternized oral community music-making experiences, and how this might inform school music education theory and practice. Schooling in Uganda mostly upholds colonial epistemes that separate cognitive, affective, and psychomotor domains, and position the arts and culture at the periphery of school experiences. Through a thematic analysis of data from interviews, focus group discussions, and observations of Anyim Lac troupe music community engagements, this study found that sociomusical experiences engender musical cognition where the musical spirit, mind, body, and environment interactions birth musical understanding. Musical cognition was understood as a holistic process of reflecting, creating, recreating, and acting emotionally where these musical spirit, mind, body, and environment interactions are shaped by culture. Since humans perceive, perform, and learn music as the embodiment of the interaction between musical spirit, mind, body, and environment, educators might need to create contexts where learners engage in learning experiences in ways that embed awareness of the intertwined nature of musical spirit, mind, body, and environment in those meaning-making processes.
Democratising the Theatre for Development (TfD) Space through Balancing Power Dynamics: Analysing Practice-Based Experiences from Uganda
(Routledge, 2024) Banturaki, Keneth
The awareness of power dynamics is fundamental in the implementation of a democratic Theatre for Development (TfD) process. This chapter draws from the author’s practical experiences with TfD practice in Uganda to advocate for effective balancing of the power playing plane. In the first experience, where the author participated as part of the facilitating team of the TfD project aimed at empowering small scale fish farmers, it is argued that if the funders have unrestricted power to dictate the terms of reference for TfD practice, without accommodating the views of the practitioners, it becomes difficult for practitioners to implement a truly democratic process of TfD. In another experience, in Eastern Uganda where the author participated as an invited research observer, it is observed that when the performances of power between the practitioners and the funding bodies are effectively negotiated, the TfD process, depending on the skill and ingenuity of the practitioner yields effective engagement and empowerment. The chapter urges that practitioners should always strive to establish a horizontal plane of working, in dealing with both funders and the communities with which they work. This requires practitioners to assess the impact of their actions, always negotiating and moderating the performance of power in the process.
Electronic music devices and software in music teaching and learning at the department of performing arts, Kyambogo University
(Kyambogo University [ Unpublished work], 2021-03) Busobozi, Nicholas
This was a study to examine how Electronic Music Devices and Software (EMDS) were used to enhance music teaching/learning at the Department of Performing Arts, Kyambogo University. The study aimed to evaluate how available EMDS were utilized in teaching/learning music, examine the effect of use of EMDS in teaching/learning music, and find out the challenges that hampered utilization of EMDS in teaching/learning music. A mixed study design both qualitative and quantitative was used, where both the Laird’s Sensory Theory and the Peter Principle’s Theory were applied in trying to understand variables of the study. The response rate of 78 respondents (100%) participated, where purposive sampling and simple random sampling techniques were used. The study employed questionnaire, interview, and document review, observation, and focus group discussion methods to collect data. Data was analyzed in themes, by coding and sorting similar responses. According to the findings, lecturers used the available EMDS to teach students both theory and practical skills in music, the use of EMDS had a positive effect on music teaching/learning, and inadequacy in knowledge, electricity power supply, internet connectivity, and virus attacks hampered the use of EMDS to teach/learn music. The study recommended; lecturers to be skilled more in using EMDS, timely repair of EMDS, and provision of alternative power supply to run EMDS continually. Further studies could be conducted to explore attitude of stake holders in using EMDS to teach/learn music
Evaluation of music education in selected primary teachers colleges in the central region of Uganda
(Kyambogo University(Unpublished work), 2019) Nambirige, Catherine
The purpose of this study was to evaluate the teaching of Music Education in Shimon , Kibuli and Ggaba Primary Teachers’ Colleges, all found in the Central region of Uganda. The study was guided by the following objectives; Find out how music teaching and learning is conducted, assess the administrative support given towards the teaching and learning of music and find out the challenges encountered during the teaching and learning of music and suggest solutions thereafter. A descriptive design was conducted to collect facts, views and experiences during the teaching and learning. The study findings revealed that; Music teaching and learning was not properly conducted because of different factors like; methods employed by tutors which contradicted those suggested in the music syllabus thus tutor-centered instead of student –centered methods and absenteeism of tutors. It was also revealed that the time allocated to music was not sufficient given the breadth /or extensiveness of the content but still, it is not properly utilized because of absenteeism of music tutors. It was concluded from the study findings that; the teaching and learning of practical skills in the classroom is very minimal because most of the practical activities according to the syllabus are out of class activities. The following recommendations were suggested. There is need for curriculum developers through the Ministry of Education and Sports to continuously organize workshops, seminars and refresher courses aimed at helping tutors enrich their professional practice. On the academic point of view, the study gives detailed information of how best music teaching can be handled in Primary Teachers’ Colleges in order to produce well balanced and competent practical music teachers.
Experimenting with child empowerment through Theatre for Development (TfD) in Uganda: my experience with a child rights TfD project in Gganda-Wakiso
(Consciousness, Literature and the Arts., 2018-04-01) Bamuturaki, Keneth
The Convention on the Rights of the Child guarantees the child’s freedom of expression, thought and association. It upholds child’s freedom to seek, receive and impart information and ideas of all kind, regardless of frontier, either orally, in writing or in print, in the form of art or through any media of the child’s choice. These freedoms also uphold the child’s right to express an opinion and be heard and relates closely to children working and sharing ideas in groups. In Uganda, there have been attempts by Non-Governmental Organisations (NGOs) such as Raising Voices, Acting for Africa and Restless Development to involve children in child rights issues but their model has largely focused on having children to participate in the NGOs’ projects rather than empowering them to design and participate in their own projects. Furthermore, as Paul Moclair would put it, ‘while Ugandan NGOs have convincing reasons for promoting children’s participation, their goals of participation are primarily designed for the consumption of the donors whose perceptions of development remain dominated by products rather than processes’(Moclair 2009). The school environment in Uganda could offer opportunities to foster child empowerment since children spend most of their time at school. However, this is hampered by authoritarian power relations between the teachers and the learners and a learning model where children are treated as empty pinchers waiting to be filled with knowledge. In this article I analyse using my practical experience with a Child Rights TfD project in a school community in Gganda Wakiso, Central Uganda how TfD can be used to empower children in analysing issues affecting their lives. The article argues that if children are facilitated to participate in making theatre focusing about their needs, they are given opportunity to learn, reflect and express their voice on issues which affect their lives. In short, they engage in an empowering and transformative process.
Indigenous music learning in contemporary contexts: nurturing learner identity, agency, and passion
(Research Studies in Music Education., 2021-02-20) Isabirye, James
I studied the revival project that involved teaching and (re)learning of a nearly extinct music tradition of the Basoga people from Uganda, to find out what might be learnt about and from those learning processes, and insights that might be applicable in formal educational settings. The revival project activities were documented (with participants’ permission) and publicized through a large number of audio and audiovisual recordings, photographs, and reports from community and school settings. Treating this documentation as extant data, I engaged in a qualitative analysis of the social and musical interactions between and among the two surviving master musicians and the youths to understand the nature and meaning of these learning experiences. Emergent themes reflected that nurturing identity, agency, and joy-filled passion among the learners were the main contributing factors that facilitated a successful transfer of knowledge and skills from the elderly master musicians to multitudes of youths.
The interplay between music and politics in Uganda: a case of by-elections in Bugiri, Jinja East and Kyadondo East constituencies
(Kyambogo University, 2021-03) Dhikusooka, Peter
This study set out to understand the interplay between music and politics in Uganda, particularly focusing on by- elections of three places. For this case of by- elections in Bugiri, Jinja East, and Kyadondo East, the study specifically, sought to establish the different types of popular music that have been used in by- elections, determine how popular music and politics influence each other and identify challenges facing the interplay of popular music and politics in Uganda. A mainly qualitative research design was utilized to find out answers to the major problems. While both qualitative and quantitative research tools were employed in the data collection process, the research was mainly situated in the qualitative domain since the nature of the subject called for a critical, and analytical interpretation of the data collected from the field, consequently influencing the reporting of the findings. The study established that music and politics have always existed side by side playing a complimentary role. The study therefore concluded that music and politics exhibits an unlimited relationship, ranging from social, economic, political and academic which has existed for long in a hidden inactive mode that deserved study.
Investigating the teaching and learning of Aural skills in music in selected Kampala secondary schools
(Kyambogo University [ Unpublished work], 2021) Mukuye, Tendo Christopher
The teaching and learning of aural skills in music in Kampala secondary school, must be re-defined in the role and structural nature of teaching music. The approach of teaching aural skills is ineffective due to inadequate methodologies and subsequent creativity of the music teachers‟ individual musicianship skills. Henceforth aural skills are the weakest performed aspect of music on national and school internal examinations. The research therefore begun with a review of all the available related literature on the teaching and learning of aural skills in music in Kampla and Uganda, however it is very limited and hence prompted the researcher into the field to find a way forward. The main objective of the study was to examine the instructional and pedagogical approaches used to teach aural skills, the students perception of aural skills and to investigate on the effects of music educators‟ skills and training in the teaching and learning of aural skills in Kampala Secondary schools. In ascertaining and gathering data for this study, five selected secondary school in Kampala where used to represent secondary schools in Uganda while employing the mixed methods approach together with questionnaires, interviews, observation and documentary analysis as the aiding research tools. In conclusion, aural skills are of significant importance in the teaching and learning of most aspects of music education in secondary schools and one of the main recommendations is that music teachers should be well trained in aural skills so as to transform the music field into a successful one.
Kadodi dance performance and community mobilization for social and economic emancipation of the bamasaaba people in Mbale district, Uganda
(Kyambogo University [unpublished work], 2022-10) Natanga, Khaukha Michael
This study sought to investigate the performance of Kadodi dance as a tool for community mobilization of the Bamasaaba people in Mbale district to engage in activities that might improve their social and economic conditions. The objectives of the study were to find out how: Kadodi instrumental music and dance motifs could contribute to community mobilization for economic and social improvement of the Bamasaaba in Mbale district; family and clan union and re-union during Kadodi dance could contribute to community mobilization for economic and social improvement of the Bamasaaba in Mbale district; identifying with Kadodi dance could contributes to community mobilization for economic and social improvement of the Bamasaaba in Mbale district. The researcher used an ethnographic study design and collected qualitative data from 25 purposively selected respondents. The main data collection instruments were interview, participant observation and focus group discussions. The key findings were that: Bamasaaba unite and support one another as families and clans during Kadodi dance, and this can translate into pooling of resource capital for income generating projects in the communities. Kadodi dance artifacts promote cultural tourism. Performers can be hired by politicians during campaigns because of its power to pull crowds and entertainment. The songs they compose during the Kadodi dance can be archived to form a poetic repertoire that can be used as a reference since the lyrics talk about salient issues that affect their society. The study recommended that the elders, cultural institution and political leaders, need to embrace Kadodi dance as a strong medium for mobilization of their communities for social and economic emancipation. If the encouragement is given to Kadodi dance, it will go a long way at awakening and creating awareness of the community who look at the traditional dance as a mere source of fun and cultural identity but instead use it for social economic emancipation.
Music instruction practices and competence of Secondary school music teacher trainees: a case of Kyambogo University, Department of Performing Arts
(Kyambogo University [unpublished work], 2023-07) Independence, Petronia
This study evaluates instruction practices and competence of secondary school music teacher trainees at the Department of Performing Arts, Kyambogo University. I was motivated to research on music instruction practices on Diploma in Education Secondary (DES) music teacher trainees due to comments from different secondary school administrators about their music teachers who have trained from Kyambogo University for being incompetent. The objectives of the study are to; 1) To examine the qualities of an effective music teacher to facilitate music learning in secondary schools in Uganda; 2)To examine the nature of instruction practices for producing competent secondary school music teachers at the Department of Performing Arts, Kyambogo University; 3) To find out the challenges that impede the effective delivery of instruction practices during the training of secondary school music teachers at the Department of Performing Arts, Kyambogo University; 4) To work out a plan of action and strategies to transform the training of secondary school music teacher instruction at the Department of Performing Arts, Kyambogo University through engagement of stakeholders . This study adopted a qualitative approach where by Action Research (AR) and evaluative studies were used. Action research was also used by engaging practitioners in a dialogue to analyze issues around DES music teacher instruction to collectively generate practical solutions. The study findings discovered that DES music teacher instruction has challenges associated with music learning. These include; Music education background, attitude towards music teaching and learning, inadequate resources, inadequate time allocated to teach music, government policy among others. This research concludes that;1) An effective music teacher needs to exhibit both practical and theoretical music skills, 2) Music education can be enriched by the background knowledge a music teacher trainee has and the pedagogical skills to facilitate the related content effectively, 3) Inadequate resources as the most challenging factor that impedes effective delivery of music instruction practices needs improvisational techniques for competency in music teaching and embracing active learning and 3) Teaching in a socialized environment with enough engaging activities can transform the instruction of music teacher trainees. Recommendations suggested for the study included the following; Review of the DES syllabus, provision of adequate materials to facilitate music learning and admission of music teacher trainees with music background.
Namadu drum music and dance as mediation of healing rituals among the Bagwere people of Uganda
(Taylor & Francis Group, 2021-03) James, Isabirye
This article reports on a study that investigated the Namadu healing ritual of the Bagwere people of Uganda. The ritual involves drumming, singing and dancing, as well as sacrificing chicks, birds and animals towards gaining spiritual, emotional and physical healing of afflicted clan members. This music and dance mediated ritual is no longer commonly performed in African indigenous communities, and has not previously received scholarly attention. The current study sought to find out the deeper meaning of this indigenous heritage; what modern society could learn from it; and its viability in a contemporary context. Ethnographic data was obtained through observation, interviews, focus group discussions, and analysis of extant videos and photographs. The findings revealed that the Namadu ritual embeds cultural identity, and increases agency in communities. Further, the music and dance have been re-invented into a royal and social entertainment, and a cultural festival for the Bagwere Cultural Union (BCU) and communities, respectively.
Namadu drum music and dance as mediation of healing rituals among the Bagwere people of Uganda
(Taylor& FrancisOnline: Journal of Music Research in Africa., 2021-03-18) Isabirye, James
This article reports on a study that investigated the namadu healing ritual of the Bagwere people of Uganda. The ritual involves drumming, singing and dancing, as well as sacrificing chicks, birds and animals towards gaining spiritual, emotional and physical healing of afflicted clan members. This music and dance mediated ritual is no longer commonly performed in African indigenous communities, and has not previously received scholarly attention. The current study sought to find out the deeper meaning of this indigenous heritage; what modern society could learn from it; and its viability in a contemporary context. Ethnographic data was obtained through observation, interviews, focus group discussions, and analysis of extant videos and photographs. The findings revealed that the namadu ritual embeds cultural identity, and increases agency in communities. Further, the music and dance have been re-invented into a royal and social entertainment, and a cultural festival for the Bagwere Cultural Union (BCU) and communities, respectively.
Participation of young people with special needs in school based musical performances in selected primary schools in Mukono district, Uganda
(Kyambogo University[unpublished work], 2022-06) Ntambirwa, Rockline
This study intended to find out the nature of participation of young persons with special needs in music activities that take place in primary school contexts. It was motivated by the apparently low levels of participation by the young people with special needs in school-based musical performances. The objectives of the study were to establish the nature of musical engagements, establish the level of participation and factors responsible for the levels of participation and to find out the implications of the participation in school-based music programs to YPwSNs in selected primary schools of Mukono district. The study was qualitative in nature. Data in form of interviews, Participant observation, written documents, audio and visual recording was collected and analyzed in order to phenomena of participation by YPwSNs in school-based music performances. Thus, findings of the study were made. Findings revealed that young people with special needs are capacitated to participate in community music practices especially in school contexts. The young people have the ability to participate in school-based music activities regardless of the impairments. They can participate in singing, dancing, acting, playing instruments, poetry and other musical performances. It was recommended that in order to nurture the young people with special needs’ capacity to participate in school-based music activities, the government, teachers, care givers and the community should encourage, create a conducive atmosphere and support the participation of young people with special needs in school-based music activities.
''Reclaiming indigenous epistemes : entenga drums revival at Kyambogo University''. In decolonising African Higher Education
(Routledge, 2022) Isabirye, James
This chapter clarifies how Indigenous pedagogies could contribute to university music education and general education pedagogy. This is based on a project in which Musisi Mukalazi Livingstone, master musician, successfully transferred knowledge and skills of Entenga royal drum music to university students and practising musicians. Entenga royal drum music of the Buganda kingdom, in Uganda, was threatened with extinction following political instabilities in the 1960s, which ended with banning cultural institutions and their associated practices. By 2015, Musisi was the only surviving royal Entenga musician. The 6-month project enabled six Kyambogo University students and six non-university practising musicians to learn Entenga repertoire using pedagogies that involved holistic, contextual acts; scaffolding; storytelling; demonstration; collaborative problem solving; active learner participation; and real-life learning goal setting. The youths engaged intensely and joyfully in their learning and became proficient in 12 Entenga songs after 6 months. They were invited to perform at a public event and the Buganda king’s annual coronation anniversaries from 2016 to 2019. Entenga gave students an opportunity to develop their identities as revivalists. This example reinforces that Indigenous-centric music education can become meaningful for Ugandan students if they develop their knowledge through bringing their community’s cultural resources into learning contexts.
Thinking about sustainability in Theatre for Development projects: my experience of how the politics of funding shapes TfD practice
(Taylor & Francis, Research in Drama Education: The Journal of Applied Theatre and Performance, 2021-12-07) Bamuturaki, Keneth
This article examines the complexity of embedding the element of sustainability to foster successful TfD practice. I recount my own experience as a TfD practitioner in western Uganda, where, in spite of my effort to execute a sustainable TfD project, I was let down by insufficiency of funds resulting from the high handedness of the funders of my project. I argue that in order to implement a successful TfD project, there should be shared action and understanding between the practitioner and the development funders on issues pertaining to the ethics of practice and the extent of the resources needed.
The use of language competences in teaching music: a case of primary schools in Lira-Dokolo districts
(Kyambogo University (un published work), 2019-11) Enou, Simon
This study investigated teacher efficacy in the implementation of the use of Language Competences (LC) in teaching CAPE 1 MDD in primary schools. The study was triggered by the need to establish teacher adherence to the Uganda Primary School Curriculum which demands that all teachers in upper primary classes use LC in preparation and actual teaching of music. The curriculum demands all teachers of upper primary classes to be teachers of English language. In order to contribute towards teacher adherence to the demands of the curriculum in question, the study aimed to establish the efficacy of teachers in the use of LC in preparation and actual teaching of music. A triangulation of methods namely document review, observation, and interviews was used to undertake the study. This study was guided by Bandura’s concept of teacher efficacy. This theory presupposes that mastery experience, vicarious experience, emotional arousal and verbal persuasion determine teacher efficacy in preparation and actual teaching of music. In preparation, the study discovered that: majority of ISTs had low efficacy in selecting appropriate vocabulary compared with PSTs. More ISTs have low efficacy in stating valid LC than PSTs. Both ISTs and PSTs have low efficacy in developing LC in the steps of their lesson plans. In music classroom instruction, the study found that: more ISTs teachers have low efficacy in modelling pronunciation. Both ISTs and PSTs have low efficacy in modelling reading of words. Majority of teachers have low efficacy in teaching meaning of words. In order to ensure efficacy of teachers in the use of LC in teaching music, this study recommended that: The Ministry of Education and Sports should re-train teachers in interpreting the competence based curriculum. The District Education Department should enforce the implementation of the use of LC in teaching music. Tutelage in the Primary Teachers’ colleges should emphasize the use of LC in preparation to teach music. School administrators should ensure that music is taught in all classes as time tabled. Teachers themselves should make efforts to seek knowledge from reliable sources.
Visual narratives of traditional royal dances in Uganda: a case of clay mated Amaggunju dance
(Kyambogo University(Unpublished work), 2020-09) Lubwama, Godfrey
The purpose of this study was to visually narrate the “Amaggunju” traditional royal dance of Buganda central Uganda through Claymation. An exploratory study design and adopted more of the qualitative than the quantitative approach in this study. The objectives of the study were to; examine the visual forms of the Amaggunju traditional royal dance of central Buganda, Develop a story line of the Amaggunju traditional royal dance of central Buganda and Claymate Amaggunju traditional royal dance of central Buganda. This study was grounded largely on the qualitative method approach. The Study Population and Samples were the Visual forms of the Amaggunju royal dance regalia in Buganda these included videos, photographs, Illustrations and drawings, Story lines were also used for claymated films and these were; The Chicken run, Early Man, Shauna the Ship Movie, Para Norman, Claymated films’ production process of The Chicken run, Early Man, Shauna the Ship Movie and Para Norm. Based on the nature of the study, the research questions it presented and the defined parameters of the required population reflected above, stratified random selection was employed and through this valuable information pertaining to this study was collected. Findings indicated that claymated Amaggunju traditional dance is one form that can be used to communicate and preserve the Baganda Royal practices. With a highlight of the advantages of using Claymation over the other forms of animation, the study recommended that animators to explore and use Claymation for communicating various aspects of human needs.

Browse

Browsing Department of Performing Arts by Title