African knowledge is yet to fully contribute to spaces of learning because of the disciplinary boundaries founded on Western separatist logic. From an African epistemology, knowledge is interconnected because of the cosmological understanding that the universe is one entity. Bringing African knowledge into the academy requires a concerted effort to bring it of its own accord. There have been commendable efforts by scholars in South Africa to bring African knowledge to higher education in ways that do not alter or re-shape this knowledge to suit the dominant Euro-American script. This book aims to showcase such efforts. This book makes interconnections of themes across disciplines. The content produced in this book will ensure that literature will anchor the noble efforts to build African universities that deliberately centre African ways of knowing. This book will be among the few publications that focus on Africanisation and decolonisation of knowledges as praxis. We anticipate that this book will be recommended in various disciplines of social sciences in South African universities.

Jabulani Means Rejoice is a dictionary comprised of hundreds of African names in local South African languages, meticulously assembled and expounded upon for the curious reader. Names are listed in alphabetical order with gender indications, as well as information regarding their ethnographic origins and meanings. Yet, Jabulani Means Rejoice is so much more than simply a list of names and their meanings. The author skilfully interweaves cultural context and history, including issues surrounding naming rituals, domestic disputes and the curse of the evil eye. As a reference work, the book stands as an invaluable contribution to the growing interest in African cultural history. With its names ranging from the traditional to the unconventional, it will appeal to linguists, family historians and anyone with an interest in names.

Community music as a field of practice, pedagogy, and research has come of age. The past decade has witnessed an exponential growth in practices, courses, programs, and research in communities and classrooms, and within the organizations dedicated to the subject. The Oxford Handbook of Community Music gives an authoritative and comprehensive review of what has been achieved in the field to date and what might be expected in the future. This Handbook addresses community music through five focused lenses: contexts, transformations, politics, intersections, and education. It not only captures the vibrant, dynamic, and divergent approaches that now characterize the field, but also charts the new and emerging contexts, practices, pedagogies, and research approaches that will define it in the coming decades. The contributors to this Handbook outline community music's common values that center on social justice, human rights, cultural democracy, participation, and hospitality from a range of different cultural contexts and perspectives. As such, The Oxford Handbook of Community Music provides a snapshot of what has become a truly global phenomenon.

A deep-seated issue persists in postgraduate education—one that threatens the relevance of academia in our diverse and evolving world. The problem at hand is the Western-centric nature of postgraduate education, where research paradigms, methodologies, and theoretical frameworks overwhelmingly reflect a Western worldview. This rigid adherence to Western ideologies has left indigenous communities on the periphery of academic discourse, denying them the opportunity to engage with their knowledge systems and practices. Despite the richness and prevalence of indigenous knowledge, the existing educational structure remains a barrier to their inclusion. This disconnect is not only an academic concern but also a societal one, as it hinders sustainable development and stifles the voices of indigenous scholars and students. Global Perspectives on Decolonizing Postgraduate Education serves as a compelling solution to the problem at hand. It offers a comprehensive roadmap to decolonize postgraduate education, infusing it with indigenous approaches, paradigms, theories, and methods. Through critical examination and practical strategies, this book empowers academics, curriculum designers, and postgraduate students to embark on a transformative journey.

The Botsotso literary journal started in 1996 as a monthly 4 page insert in the New Nation, an independent anti-apartheid South African weekly and reached over 80,000 people at a time – largely politisized black workers and youth – with a selection of poems, short stories and short essays that reflected the deep changes taking place in the country at that time. Since the closure of the New Nation in 1999, the journal has evolved into a stand-alone compilation featuring the same mix of genres, and with the addition of photo essays and reviews. The Botsotso editorial policy remains committed to creating a mix of voices which highlight the diverse spectrum of South African identities and languages, particularly those that are dedicated to radical expression and examinations of South Africa's complex society. With over seventy poets represented, this is a bumper edition of the journal and given the number of interesting and accomplished poems received (over the past two years since publication of Botsotso 17), we believed it worthwhile to break from tradition and dedicate this edition wholly to poetry.

Everyday life in South Africa has been dominated by the politics of racial identities, while such identities form and re-form around a range of cultural activities and practices. This book traces the important dimensions of cultural activity in late twentieth-century South Africa, offering a multidisciplinary assessment between culture and politics. It also explores the ways in which the place of culture is being rethought since South Africa's transition to democracy.