Higher Education Leadership And Governance In The Development Of The Creative And Cultural Industries In Kenya

The role of higher education in establishing structures and procedures in society and industry is clearly articulated in scholarly discussions. The narrative has recently taken a new momentum in Kenya with acknowledgement of the creative industry involves many youth, as an area that impacts on the economy. In unravelling the link between higher education and industry, the authors focus on leadership and governance in higher education and its expected and perceived contribution to the shaping of the creative industry. Through analysis of cases, the authors interrogate the processes and structures that govern the teaching and practice of the creative subjects, noting how these affect the creative industry in Kenya. This book approaches the creative disciplines from the perspectives of the students, lecturers and university administrators. The three voices provide a balanced view of what higher creative arts education in Kenya is. The multiple authorship of the book further provides a balanced account of the development of these disciplines in higher education, and their growth in industry. The key concepts here are the development of the creative industry and how higher education should contribute to the same.

The role of higher education in establishing structures and procedures in society and industry is clearly articulated in scholarly discussions. The narrative has recently taken a new momentum in Kenya with acknowledgement of the creative industry involves many youth, as an area that impacts on the economy. In unravelling the link between higher education and industry, the authors focus on leadership and governance in higher education and its expected and perceived contribution to the shaping of the creative industry. Through analysis of cases, the authors interrogate the processes and structures that govern the teaching and practice of the creative subjects, noting how these affect the creative industry in Kenya. This document approaches the creative disciplines from the perspectives of the students, lecturers and university administrators. The three voices provide a balanced view of what higher creative arts education in Kenya is. The multiple authorship of the book further provides a balanced account of the development of these disciplines in higher education, and their growth in industry. The key concepts here are the development of the creative industry and how higher education should contribute to the same.

The home institutions were some of the pioneers of higher education in the arts in the country, and we felt they would provide significant information for the research at hand. [...] We thank the respondents, the Deputy Vice-chancellors, the Deans and Directors of Schools and Students Affairs, the Chairpersons of Departments and the students in these institutions. [...] The objective of writing this book stems from the perceived disconnect between the practice of knowledge of the creative industries and the educational approach of the same at the university level and how this impacts on leadership in the country. [...] The bridge between the industry and the world of academia forms the thrust of the introduction. [...] In attempting to do this, the text speaks to the challenges of funding and how this influences the nature and type of intervention the leadership does give the student performing artists.

This book guides managers and leaders toward greater insight and more deliberate practices in regards to diversity, equity, and inclusion addressing leadership, operations, and the educational environments. The authors consider the qualities of awakened leadership as critical components for establishing and nurturing a diverse, equitable and inclusive work environment. The book argues that the only way destructive conflicts can be resolved on a lasting basis is through profound collaboration, which can be embedded in performance structures by questioning biases, and becoming aware of limiting mindsets and traditions, that keep parts of society subjugated. It offers a wide range of constructive approaches that lead to higher awareness, thus, better understanding and focus on stakeholders. Finally, it presents examples of diversity-engendered issues and their resolutions from around the globe.

Viewing the plurality of creativity in music as being of paramount importance to the field of music education, The Routledge Companion to Creativities in Music Education provides a wide-ranging survey of practice and research perspectives. Bringing together philosophical and applied foundations, this volume draws together an array of international contributors, including leading and emerging scholars, to illuminate the multiple forms creativity can take in the music classroom, and how new insights from research can inform pedagogical approaches. In over 50 chapters, it addresses theory, practice, research, change initiatives, community, and broadening perspectives. A vital resource for music education researchers, practitioners, and students, this volume helps advance the discourse on creativities in music education.

The book reflects on the role of the creative economies in a range of African countries (namely Ghana, Kenya, Nigeria, South Africa and Uganda). Chapters explore how creative economies emerge and can be supported in African countries. The contributors focus on two key dimensions: the role of higher education and the role of policy. Firstly, they consider the role of higher education and alternative forms of specialised education to reflect on how the creative aspirations of students (and future creative workers) of these countries are met and developed. Secondly, they explore the role of policy in supporting the agendas of the creative economy, taking also into consideration the potential historical dimension of policy interventions and the impact of a lack of policy frameworks. The book concludes by reflecting on how these two pillars of creative economy development, which are usually taken for granted in studying creative economies in the global north, need to be understood with their own specificity in the context of our selected case studies in Africa. This book will be of interest to students, scholars and professionals researching the creative economies in Africa across the humanities and social sciences. All the royalties from the publication of this book will be donated to the not-for-profit organisation The Craft and Design Institute (CDI) (https://www.thecdi.org.za/) in South Africa, supporting capacity building for young creative practitioners from disadvantaged backgrounds.

This book examines the concept of the democratization of governance in universities in Kenya with particular emphasis on students involvement in governance processes and decision making. Data were collected from members of the student community utilizing a structured self-administered questionnaire and from purposively selected key informants and focus group discussants drawn from Kenyatta University (representing the public sector) and the United States International University (representing the private sector). The guiding argument for the study was that shared governance, one of the principles of good governance, is critical in enabling the universities to deliver their visions and the missions effectively. The results revealed that while in principle, Kenyan universities have embraced democratic governance in which all stakeholders, including students, have a role to play, in practice they continue to violate the core principles of good governance, particularly shared governance. Specifically, students, who are major stakeholders in university education, are largely excluded from significant structures of governance thereby limiting their influence and participation. Although their representation is mainly provided via student self-governance organs (unions, associations and/or councils), their effectiveness is undermined considerably by the lack of trust and confidence of the student body and the unending manipulation by top university administrators and external political actors. Student active involvement in decision making is mainly confined to lower levels such as the school/faculty and departmental/programme. The authors call for a paradigm shift in the involvement of students in the governance of universities in ways that discourage the current culture of tokenism and political correctness that characterizes public and private universities in Kenya.

In the face of increasing social demand and cutbacks in state budgetary support, universities in African countries are now turning towards a multicampus system strategy. As African governments have adopted neoliberal education policies that place premium on entrepreneurialism, profit making, privatization, and markets as drivers of university development, a reshaping of the academic work and organizational framework have taken place. However, little is known about the impact of this paradigm shift on access, quality and governance in higher education. This book fills the void in research and academic knowledge about the impact of the emerging university configurations in Africa. It analyzes the paradox surrounding the performance of multicampus university systems as avenues of broadening university access but whose structural success may be qualitatively contested. This book offers a refreshing examination of the African multicampus university system from both an African and global perspective. It makes use of empirical data from Kenya collected during extensive fieldwork along with substantive library and documentary resources on the rest of the continents to fortify arguments and demonstrate important conclusions. This allows for a comparative analysis of policies and strategies used in the establishment of campuses, both within and beyond national boundaries in the continent, and will be a welcome contribution to the existing repertoire on African universities.