Part II
Songs about Political Engagement, Criticism, and Commentary
Kiganda court songs, as a product of the royal court, are inextricably linked to the world of politics, leadership, and decision-making. In part 2 we focus on themes of political engagement, criticism, and commentary found within five court songs, all of which reflect the efforts of musicians to shape the political decisions of their eras, either by influencing the king or by speaking directly to the masses. This process draws our attention to the power and influence of court musicians in the political domain, and it emphasizes the unique strategies they deploy to wield this influence. Each chapter highlights specific methods court music performers have used to engage with and alter the political landscape around them. The first two chapters highlight how court musicians have influenced their king through such strategies. Chapter 4 demonstrates the theme of false praise by looking at how the musicians of the quick-tempered King Ssuuna II (r. ca. 1824–1854) used the song “The Handsome Catch a Slight Squint” (“Empujjo Zikwata Balungi”) to offer insincere compliments that appeased him. Chapter 5 discusses the musicians’ use of flattery, deceit, and satire in the song “Fair-Skinned” (“Kabirinnage”), which cunningly celebrated Ssuuna II’s physical appearance. This song reminds us that mockery can be disguised as flattery to fool leaders with inflated egos.
The other three songs use direct criticism to confront political subject matters and address leaders, thus serving as creative conduits to express the sentiments of the Baganda people. Chapter 6 underscores the themes of greed and selfishness, focusing on court musicians’ use of the song “As He Plucked Them” (“Bwe Yazimaanya”) to criticize and challenge King Kamaanya (r. ca. 1794–1824) for his cruel and unusual behavior. A unique feature of this song is its use of cultural imagery. Chapter 7 examines the themes of mourning and ridicule via the song “Householder” (“Nnannyinimu”), which, after the death of King Ssuuna II, his musicians employed to criticize and celebrate the king’s flawed but omnipotent rule and to express the somber emotions of his subjects. Chapter 8 focuses on the themes of manipulation, exploitation, and reciprocity in the song “Federalism” (“Federo”), which protests the Ugandan national government, accusing it of making bureaucratic decisions that have led to the unjust suffering of its people in the twenty-first century. These three songs take a more confrontational stance than the first two, demonstrating how criticism can be just as effective as praise in the realm of political action. The three songs embody lyrical criticism of governmental authority in a myriad of social and historical contexts. In a way, court musicians act as intermediaries between the king and his people, constantly balancing and stimulating this mutual two-way flow while simultaneously remaining a sovereign figure. As members of the royal court, not only are the musicians close to the king and his duties but they also exert their own form of authority by association. Between false praise and direct criticism, the five songs featured in part 2 illustrate that diverging performance methods influence social change, for better or for worse.
All five exemplify the power held by musicians in the royal court and, in a more universal sense, the power of music, art, and performance in the political domain. Yet the true power of these songs lies in their ability to be reimagined by multiple interpreters, who derive distinct meanings from each verse, lyric, and word. Some take a more traditional route in their interpretations, exploring the historical accounts and lived experiences of Baganda to understand the lyrics. Others find meaning through comparisons with the contemporary world, as the content of the songs under examination are equally applicable in the context of twenty-first-century political leaders and the interactions they have with the public.