“DON’T TEACH THAT IT’S TOO INDIGENOUS”: THE MARGINALISATION, SILENCING, AND RESISTANCE OF INDIGENOUS MUSIC IN HIGHER EDUCATION

South Africa’s musical arts and culture have historically faced systemic marginalisation, first under colonial rule and later during apartheid from 1948, when the government dismissed indigenous musical traditions as primitive, ungodly, and lacking artistic merit. Despite political independence in 1994, post-apartheid educational policies have struggled to fully redress these historical imbalances, particularly in higher education, where curricula continue to prioritise Western classical and global popular music. Indigenous music, a vital component of South Africa’s cultural heritage, remains peripheral and often silenced in formal teaching and learning. This systematic review examines the positioning, exclusion, and resistance of indigenous music within South African university curricula, drawing on scholarly literature, policy documents, and empirical studies. Findings highlight the persistent privileging of non-indigenous repertoires, reflecting broader socio-cultural hierarchies and epistemic biases that constrain recognition of local knowledge systems and limit students’ cultural expression. The review further identifies strategies of resistance employed by educators and students, including curriculum adaptation, integration of community-based musical practices, and advocacy for institutional reform. Gaps remain in research, particularly regarding indigenous pedagogies, teaching resources, and assessment practices that affirm cultural identity. By foregrounding marginalisation, silencing, and resistance, this study contributes to debates on decolonising higher education and promoting epistemic diversity in music programs. The review concludes with recommendations for policy, curriculum reform, and professional development, advocating for culturally responsive, inclusive approaches that celebrate South Africa’s unique musical heritage while empowering educators and students alike.