A thoughtful prescription for a pedagogical strategy for sub-Saharan Africa.




A debut treatise offers a new approach to sub-Saharan African education.

The educational systems of sub-Saharan Africa are not suited for the continent’s economic needs. Modeled on 19th-century European ideas about schooling, they offer an extremely one-size-fits-all approach that ignores the individualized needs and strengths of students. As the nations of Africa move toward postindustrial service- and skills-based “creative” economies, an alternative paradigm in education is required. With this book, the author presents a new method: authentic learning. Steve Revington, whose thoughts on pedagogy underlie Muganga’s work, defines authentic learning as “real life learning…that encourages students to create a tangible, useful product to be shared with their world.” After describing his own traditional education in Uganda, Muganga delivers a portrait of sub-Saharan education as a whole, contrasting it with the more personalized and economically pragmatic practices of authentic learning. The author explains the benefits that this new system would have for the continent and then explores the realities of how it could be implemented. The creative economy represents a way for Africa to make up a lot of ground, exploiting the near-limitless innovative potential of its citizens. But, the author argues, unless an educational overhaul occurs, that resource will remain untapped. Muganga writes in a crisp prose that is technocratic without suffering from opacity: “Globalization connects strongly to the creative economy through the movement towards specialization, where modern information and communication technologies facilitate the sharing of cultural knowledge.” This short book, aimed more at influencers than a general audience, is well-argued and thoroughly sourced, synthesizing a large body of recent research and educational theory. While there are many ideas out there about how to teach children, it’s difficult to argue that a personalized education that prepares students for the economy isn’t an attractive system. On paper at least, Muganga’s proposal is a persuasive one, ambitious but not impractical. While the implementation may be complex, he has succeeded in his stated goal of starting a dialogue on the subject.

A thoughtful prescription for a pedagogical strategy for sub-Saharan Africa.

Pub Date: N/A

ISBN: 978-1-5255-2534-6

Page Count: 173

Publisher: FriesenPress

Review Posted Online: July 23, 2018

Did you like this book?

No Comments Yet



Noted jazz and pop record producer Thiele offers a chatty autobiography. Aided by record-business colleague Golden, Thiele traces his career from his start as a ``pubescent, novice jazz record producer'' in the 1940s through the '50s, when he headed Coral, Dot, and Roulette Records, and the '60s, when he worked for ABC and ran the famous Impulse! jazz label. At Coral, Thiele championed the work of ``hillbilly'' singer Buddy Holly, although the only sessions he produced with Holly were marred by saccharine strings. The producer specialized in more mainstream popsters like the irrepressibly perky Teresa Brewer (who later became his fourth wife) and the bubble-machine muzak-meister Lawrence Welk. At Dot, Thiele was instrumental in recording Jack Kerouac's famous beat- generation ramblings to jazz accompaniment (recordings that Dot's president found ``pornographic''), while also overseeing a steady stream of pop hits. He then moved to the Mafia-controlled Roulette label, where he observed the ``silk-suited, pinky-ringed'' entourage who frequented the label's offices. Incredibly, however, Thiele remembers the famously hard-nosed Morris Levy, who ran the label and was eventually convicted of extortion, as ``one of the kindest, most warm-hearted, and classiest music men I have ever known.'' At ABC/Impulse!, Thiele oversaw the classic recordings of John Coltrane, although he is the first to admit that Coltrane essentially produced his own sessions. Like many producers of the day, Thiele participated in the ownership of publishing rights to some of the songs he recorded; he makes no apology for this practice, which he calls ``entirely appropriate and without any ethical conflicts.'' A pleasant, if not exactly riveting, memoir that will be of most interest to those with a thirst for cocktail-hour stories of the record biz. (25 halftones, not seen)

Pub Date: May 1, 1995

ISBN: 0-19-508629-4

Page Count: 224

Publisher: Oxford Univ.

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: March 1, 1995

Did you like this book?

Necessarily swift and adumbrative as well as inclusive, focused, and graceful.


A light-speed tour of (mostly) Western poetry, from the 4,000-year-old Gilgamesh to the work of Australian poet Les Murray, who died in 2019.

In the latest entry in the publisher’s Little Histories series, Carey, an emeritus professor at Oxford whose books include What Good Are the Arts? and The Unexpected Professor: An Oxford Life in Books, offers a quick definition of poetry—“relates to language as music relates to noise. It is language made special”—before diving in to poetry’s vast history. In most chapters, the author deals with only a few writers, but as the narrative progresses, he finds himself forced to deal with far more than a handful. In his chapter on 20th-century political poets, for example, he talks about 14 writers in seven pages. Carey displays a determination to inform us about who the best poets were—and what their best poems were. The word “greatest” appears continually; Chaucer was “the greatest medieval English poet,” and Langston Hughes was “the greatest male poet” of the Harlem Renaissance. For readers who need a refresher—or suggestions for the nightstand—Carey provides the best-known names and the most celebrated poems, including Paradise Lost (about which the author has written extensively), “Kubla Khan,” “Ozymandias,” “The Charge of the Light Brigade,” Wordsworth and Coleridge’s Lyrical Ballads, which “changed the course of English poetry.” Carey explains some poetic technique (Hopkins’ “sprung rhythm”) and pauses occasionally to provide autobiographical tidbits—e.g., John Masefield, who wrote the famous “Sea Fever,” “hated the sea.” We learn, as well, about the sexuality of some poets (Auden was bisexual), and, especially later on, Carey discusses the demons that drove some of them, Robert Lowell and Sylvia Plath among them. Refreshingly, he includes many women in the volume—all the way back to Sappho—and has especially kind words for Marianne Moore and Elizabeth Bishop, who share a chapter.

Necessarily swift and adumbrative as well as inclusive, focused, and graceful.

Pub Date: April 21, 2020

ISBN: 978-0-300-23222-6

Page Count: 304

Publisher: Yale Univ.

Review Posted Online: Feb. 9, 2020

Kirkus Reviews Issue: March 1, 2020

Did you like this book?