This study surveys music and dance from a global perspective, viewing them as a composite whole found in every culture. To some, music means sound and body movement. To others, dance means body movement and sound. The author examines the complementary connection between sound and movement as an element of the human experience as old as humanity itself. Music and dance from Africa, the Americas, Asia, Europe, the Middle East and the South Pacific are discussed.

Rwanda is a small landlocked country located in Central-East Africa. It has a total land area of 26,338 square kilometers and is bordered by Uganda to the north, Tanzania to the east, Burundi to the south and the Democratic Republic of Congo to the west. The population is predominantly composed of three ethnic groups: the Hutu, Tutsi, and Twa. The country experienced a major genocide in 1994, resulting in the deaths of approximately 800,000 people, mainly Tutsi. The genocide shattered the country's economic and social infrastructure, leading to a long period of recovery and reconstruction. Since then, Rwanda has undergone significant transformation and is emerging as one of Africa's success stories. The government has prioritized modernizing the agriculture sector, promoting investment in infrastructure, and reducing corruption. Rwanda has also embraced technology, becoming a hub for information communication and innovation. The country is now known for its initiatives such as the Kigali Innovation City, which aims to create jobs through attracting tech companies to set up shop in the country. While there are still challenges, Rwanda is making strides towards becoming a prosperous and thriving nation.

This report explores the interface between recent socio-political changes in Namibia, and the way they are reflected in emergent musical practices and identities within the country. The potential tension between unity and diversity is investigated within musical landscapes in traditional and contemporary frames. Sadly, diversity is often seen to be the precursor of divisiveness rather than a product of human creativity and ingenuity. Based on a decade of field research undertaken mainly in the north and central areas of Namibia since 1993, this report poses questions about fundamental purposes of music-making, and the conscious response of people to the contemporary Namibian socio-political situation. It provides a broad overview of music emanating from different cultural practices in Namibia, and relates this to the State's political strategies for ensuring unity and nation-building through policy-making, education and broadcast media. The changes that occur in musical practices are seen as strategic cultural choices and ongoing identity-formation.