Part VI
Songs about Conflict and Loss
Death and warfare are universal, but the way each nation, culture, and individual experiences these hardships is unique. Part 6 focuses on themes of conflict and loss. The five songs featured in this part elaborate on the Kiganda ways of living in response to life’s unpredictable dangers. The first three songs explore the more physical, corporeal aspects of conflict and loss with a focus on the bloodshed that results from war. Chapter 19 looks at war and fate via the song “Ssematimba and Kikwabanga” (“Ssematimba ne Kikwabanga”), which recounts the tragedy of two brothers who die in battle before they can enjoy the goats they were saving to eat later. The song has multiple lessons: first, it reminds us to be thankful for each living moment; second, it advises us to not count our chickens before they hatch; third, it illustrates the tragedy of wasted potential and the senselessness of violent conflict. Chapter 20 looks at “Poland” (“Polanda”) via the related themes of war and imperialism. The lyrics and analyses of this song compare the events of World War II to power dynamics of Ugandan politics, demonstrating how political conflict is often a transnational, universal experience. Chapter 21 looks at two renditions of “The Battle of Nsinsi” (“Olutalo olw’e Nsinsi”) to understand the causes and occurrences of civil war. It recounts a civil war between two kingdoms, Buganda and Bunyoro, again highlighting the ubiquitous nature of violence.
The next two songs examine the more spiritual, immaterial side of conflict and loss. Chapter 22 looks at the themes of disagreement and invocation in the song “Let Me Plod with a Stick Close to Kibuuka” (“Ka Nsimbe Omuggo awali Kibuuka”), which focuses on the complex dynamics in disagreements between family members, men and women, and other relationships. Chapter 23 investigates mortality and spirituality in “The Pebble Is Breaking Me” (“Akayinja Kammenya”). This song expresses regretful sentiments from the perspective of a deceased person who pities the living for their lack of gratitude. It calls into question the universal themes of morality and legacy, and it highlights how life in Buganda functions in the context of conflict and loss.
The five songs featured in part 6 make for a fitting final installment, as each one deals with heavy topics such as violence, war, and death. Applying a variety of political lenses to the songs, interpreters explore the potential of each song to serve as a statement about the end of a political dynasty, a social movement, or a lineage of people. Many explore the concept of legacy, both in the context of national leadership and in kinship, thus extracting a wealth of meanings from each narrative.