Index

Damascus Kafumbe

Index

Page references in the index refer to the print edition. You can search this ePub for key terms by using the search function in your reader.

abagalagala (servants), 205

Abakunta people, 262

abasiige. See court pages (abasiige)

Achebe, Chinua, 246–47

Adima, Faustine, 48

adungu. See bow harp (adungu)

advice

failure to heed, 94, 103, 107–8, 171, 173, 209, 258–59, 276–77

knowledge as, xix

to leaders, 103, 105–14, 209–11, 215, 219, 223, 224, 225, 235, 246, 250, 259

value of, 30, 83, 106–14, 137, 139, 144, 150–51

Agawu, Kofi, 6, 33, 37

Ahmed Bin Ibrahim, 52

akabbiro (secondary totem), 70

akadinda. See xylophones (akadinda and amadinda)

akogo. See lamellaphone (akogo)

al-Bashir, Omar, 248

amadinda. See xylophones (akadinda and amadinda)

amakuuli (bad intentions), 211

amatooke (bananas), 287

Amin, Idi, 4, 82, 181, 200, 290

“Amount of Sugar Is Just Right, The” (“Kassukaali Ke Ko”) (B. Wine), 66

Ampene, Kwasi, 40

Anderson, Lois, 37

animal horn (eŋŋombe)

Bisaso as performer, 12

Majwala as performer, 14

animal symbolism

clan totems, 69, 70, 77

in “Federalism,” 87–88, 93

in “The King Is a Lion,” 188, 190–92

in “The Little Lion,” 142, 175–202

of Mr. Dog in “The Flutists’ Legal Case,” 162, 165, 166

snake as symbol of greed, 82, 83–84, 85

animosity, 103, 115–27, 150, 256, 259

appreciation

expressions of, 234–35, 242, 245, 257

false, 150–51

lack of, 281; by leaders, 149, 155, 164; for leaders, 149, 153–54, 155, 164

of life as it occurs, 246, 247, 250, 251

poverty limiting, 153

reciprocity and, 242

regret and, 141, 143–57

Arab traders in Buganda, 3, 52, 56

“As He Plucked Them” (“Bwe Yazimaanya”)

greed and selfishness in, 49–50, 69–78

historical context, 69–70

interpretations of, 71–78

Kafeero’s performance of, 9

Kamaanya criticized in, 49–50

musical elements, 70

song text, 70

Askew, Kelly, 120, 169, 234

baaba (older sibling; endearment), 287

baakisimba (Kiganda drum or music and dance genre), 14, 16

“Baamunaanika Hill” (“Akasozi Baamunaanika”), 10

genuine praise in, 204, 214–23

historical context, 214–15, 219

interpretations of, 219–23

musical elements, 216

song text, 216–18

Sserwanga’s performance of, 10

baana battu (endearment), 287

Baazibumbira, Matyansi Kibirige, 13, 254

Badongo Dancers, 22

Baganda (defined), xi. See also specific terms and topics

Bakan, Michael, 6

Balabarca, Lisette, 42

Bantu clans, 3

Bantu languages, xii

Barbalet, Jack M., 42, 44

Barz, Greg, 40

“Battle of Nsinsi, The” (“Olutalo olw’e Nsinsi”), 15

Bisaso’s performance of, 13

civil war in, 239, 261–68

historical context, 30, 261–62

interpretations of, 265–68

musical elements, 263–64

song text, 264

bba bonna (king’s honorific), 192

bbaffe (king’s honorific), 194

Beliveau, Annie, 17–18

Besigye, Kizza, 17, 72, 119, 259–60, 272–73

Better Education Less Labor project, 123

Binaisa, Godfrey, 4

Binks, Emma, 17–18

Bisaso, Albert Ssempeke, 8–9, 23

author and, 22

biography of, 12–13

bow harp performances, 12, 22

on historical context of “The Battle of Nsinsi,” 261

instruments played by, 12

performance of “The Battle of Nsinsi,” 261, 263–64, 268

performance of “Ssematimba and Kikwabanga,” 241–44

performance of “They Chopped Off His Fingers,” 131, 133, 135–36, 138

Ssempeke’s and Sserwanga’s legacies continued by, 13

bow harp (adungu), 12

bow harp (ennanga), 12, 22

Bisaso as performer, 12, 22, 242, 263–64

Gganga as performer, 128–31

harmonic tunings of, 38

Majwala as performer, 14, 22, 263–64, 282

performance logistics of, 39

role of king’s private harpist, 28–29, 42

Ssempeke as performer, 22, 144, 159

bowl lyre (endongo)

Bisaso as performer, 12

Kabwama as performer, 115–17

Majwala as performer, 14

symbolism of, 121

variable tuning for, 38

bravery and courage, 134, 262, 267–68

Brick (Ettoffaali) fundraising scheme, 95, 181–82, 234–35

Buganda, Kingdom of. See also court musicians; court songs in Buganda; specific kings

Christian missionaries in, 3, 134–35, 185–86

clan heritage, 230

clan structure in, 70, 182

conflicts with Bunyoro Kingdom, 30, 239, 261–65, 268

court music in colonial, 9, 199–200

court music in postcolonial, 4–6, 9–15, 225

court musicians supported by Amin, 181

court songs as living history, 36, 40, 46–48, 235–37, 263

decline of royal political power, 199–200, 201–2

dissolution of, 103

education in, 123–24

familial reverence for royalty in, 221–22

female court musicians, 15–17

female dancers, 15

foreign cultural products in, 5–6

history and political landscape, 3–4

Kasubi tombs rebuilding project, 95–96, 181–82, 234

Kiganda worldview, 20–21

king’s love for subjects, 205–13

king’s titles and honorifics, 81, 192, 194–95, 197–98, 230

kings’ tours of counties, 230–31, 232, 233

kingship differences between past and present, 115–17

leonine imagery of king, 142, 175–78, 188–92, 194–95, 199

Mmengo court, 9, 10–12, 13, 14, 82, 88, 182, 215–16

palace attack, 1966, 4, 10, 12, 13, 82, 225, 226

post-1993 kingship restoration, 4–8, 9, 14, 87, 93, 233, 236

post-independence social structure deterioration, 7

pre-1966 tax arrangements, 88

recent initiatives, 123–24, 220–21, 234–35

regional rights demanded by, 87–101

status within Uganda, 3, 4, 6–7, 188–92, 233–34

Wamala court, 9

Buganda ku Ntikko (Buganda at the Peak) project, 123

bulungi bwansi (communal work), 88

Bunyoro, Kingdom of

conflicts with Buganda Kingdom, 30, 239, 261–65, 268

history of, 3

burial practices, Baganda traditional, 287

Cady, Elizabeth, 17–18

Campbell, John, 48

caution

central government and, 233

in dealing with leaders, 163–64, 168, 175–78, 192, 258

karma and, 247

leaders’ need for, 54, 103, 105–14, 173, 206, 219

trust and, 66–67, 183

value of, 149–50, 248, 253, 257

wisdom and, 62

cce (personal spirit or god), 171–72

ccuucu (signal grass), 194, 195

Cheeseman, Nic, 34

Chikowero, Mhoze, 43

Christian missionaries

in Buganda, 3, 134–35, 185, 199–200

in Uganda, 185–86

Ciantar, Philip, 33

Coffee Does Not Disappoint (Emmwanyi Terimba) program, 220–21

Cohen, Andrew, 3, 224–25

collaboration. See also cooperation

benefits of, xvii, xix, 31

interdependence and, 207

leadership and, 109

power dynamics and, 31, 33–35

colonial dynamics in ethnographic research, 33–35, 46–47

colonialism and colonial rule

colonial mindset, 256

European monarchical social norms, 6, 91–92

nineteenth-century, 3

power relations in, 42, 199–200, 201–2, 224–25

commentary, songs about, 43, 49–101

Como-Mosconi, Angelina, 17–18

compromise, 172–73, 194, 251

conflict, songs about, 239–92. See also domestic disputes; violence; war

connection. See also cooperation; mutuality

importance of, xvi–xvii, 78, 147–48, 162

between king and subjects, 7, 9, 92–93, 231–37,

performer-audience, 41

Cooke, Andrew, 35, 36

Cooke, Peter, 35, 37, 82, 241

cooperation, 54–55, 75–76. See also mutuality; reciprocity

songs about, 45, 203–37

corruption. See greed

courage. See bravery and courage

court musicians. See also specific kings; specific performers’ names

court pages (abasiige), 10, 134, 205–6, 214–16

cultural importance of, 54–55

dangers to, 7, 51–53, 54–55, 103, 128–39, 158–74

featured in book, 8–15

flattery of king, 49–50, 51–59, 60–68, 77

guidance of king, 45, 69, 70–71, 105–9, 224–26

instruments’ importance to, 116–17

instruments protected by after 1986 attack, 4, 225, 226, 232

as intermediaries between court and public, 28–29, 49–50, 79–80, 82–83, 175–76

intimacy with king, 117, 198, 214–16, 218–19

king’s private harpist, 28–29, 42, 128–39

non-royal performances of, 5

plots of land given by King Muteesa II to, 214–18

role in explaining current events, 255

tension between singers and leadership, 25

court pages (abasiige), 10, 134, 205–6, 215–16

court songs in Buganda. See also specific performers or rulers; specific song titles; specific topics

biased views in lyrical interpretations, 27–28

composer-performers of, 8–15, 22–23

defining, 28–30

ethical considerations and interpretive process, 25–27, 31

instruments’ use in, 37–39

interpreters, working with, 17–18, 21–22, 23–25

musical meaning, 39–41

performance opportunities after 1993, 7

popular decline of, 5

power relations in, 41–46

rarity of current performance, 6

recasting (or reimagining) process in interpretation of, xviii–xix, 18, 21, 32, 34–35, 40–41, 50

recontextualization of, 4–5, 17, 18, 20–21, 22, 23–25, 32

repertoire of, 5, 28, 29, 36–37, 215

research methods and approaches to lyrical interpretation, 20–31

song text components, 36

songs about conflict and loss, 239–92

songs about leadership and responsibility, 103–139

songs about loyalty and duty, 141–202

songs about mutuality and cooperation, 203–37

songs about political engagement, criticism, and commentary, 49–101

Criminal Investigations Directorate (CID), 25

criticism

direct, 49–50, 66, 79–86

indirect, 61, 69–78, 85, 131

modes of, 43

self-correction and, 109–11

songs about, 49–101

Daily Monitor, 182

Daudi Ccwa II, King, 214, 222–23

court musicians of, 9, 13, 14, 224

Dave, Nomi, 43

Dawuda, 11

death

avoiding sentence of, 53, 54, 56, 128, 131, 133, 135, 136

betrayal and, 122

change and, 45–46, 288

as extension of life, 281–92

facing reality of, 159, 161–62, 164

inevitability of, 288, 289

of King Muteesa II, 111–12

legacy and, 161–62, 168–69, 171, 174, 244

mourning and ridicule, 50, 79–86

as prerequisite to life, 251

profundity of informing decision-making, 250–51

as ultimate instance of change, 165

universality of, 287, 290–92

deceit, 49, 51, 57, 60, 62–68, 170, 172–73

“deep Luganda,” 41, 85–86

deliberation, 103, 115–27, 133, 266

determination

of King Muteesa II, 230

of leaders, 124, 193–94

spirituality and, 271, 273, 280

of warriors, 251, 253, 268

Deziderio, Ssaalongo Kiwanuka Matovu, 8–9, 22–23

author and, 22

biography of, 13

as composer of “Federalism,” 87–101

on context of “Federalism,” 87–88

on context of “The King Is a Lion,” 188–89

on context of “Unadvisable Kayemba,” 105–6

as court musician, 198

on historical context of “Poland,” 254–57, 260

performance of “Federalism,” 87–89

performance of “The King Is a Lion,” 189–92, 200, 201

performance of “Poland,” 255–56

performance of “Unadvisable Kayemba,” 106, 114

Diamond, Beverley, 33, 46–47, 256

disagreement

complex dynamics in, 239, 269–80

reconciling differences, 120–21, 212

domestic disputes, xx–xxi, 30, 269–70, 272, 275–76, 277, 279, 280

Drum Making as a Way of Life in Southern Uganda (film), 18

drums, Kiganda, 14

as conduits for speech, 38

female performers, 15, 16–17

gendering of, 16

Dungu, Solomy Katasi, 36

duty

justice and, 103

of leaders, 71, 75

mutuality and, 44–45, 113

power relations and, 44–45

serving the king not viewed as, 117

songs about, 141–202

of subjects, 103

ebika (clans), 70

ebisoko (idioms), 60

Egypt, 43

ekiswa (anthill), 188

ekitembe (wild, inedible banana plant), 287–88

ekitooke (banana plant), 287

ekkanzu (tunic), 52

Elephant (Njovu) Clan, 10

embuutu (also mbuutu; Kiganda drum), 14, 38

emibala (melo-rhythmic beats with associated textual phrases), 38

empologoma (king’s title “lion”), 175

empuunyi (Kiganda drum), 14

endere. See notched flute (endere)

endingidi. See tube fiddle (endingidi)

endongo. See bowl lyre (endongo)

engalabi (Kiganda drum), 14

enjobe (antelope), 87

enkejje (haplochromis), 143, 149–50

enkenku (stale beer), 24

ennaka. See white ants, harvesting

ennanga. See bow harp (ennanga)

eŋŋombe. See animal horn (eŋŋombe)

ensaasi (gourd shakers), 14

envubu (hippopotamus), 87

Ethiopia, 45

ettale (meadow), 87

Ettoffaali fundraising scheme, 95, 181–82, 234–35

exploitation, 87–101

by colonial powers, 199–202

by leaders, 96, 99–100, 113, 245, 259, 267

“Fair-Skinned” (“Kabirinnage”)

continuing relevance of, 67–68

flattery, deceit, and satire in, 49, 60–68

historical context, 60–61

interpretations of, 62–67

Kafeero’s performance of, 9

musical elements, 61

song text, 61, 67

false praise. See also flattery; manipulation

critiquing through, 66–67

of King Ssuuna II, 49, 50, 51–59

manipulation through, 150–51, 166–68, 203

fate

accepting, 290

of death, 289

of Gganga, 103, 133, 134, 136

spirituality and, 273, 274, 279

uncertainty of, 166–67

war and, 239, 241–53

“Federalism” (“Federo”)

animal symbolism in, 87–88, 93

as Buganda Kingdom’s unofficial anthem, 100

Deziderio’s performance of, 13, 87–93

engagement with national politics, 30, 87–101

interpretations of, 93–101

manipulation, exploitation, and reciprocity in, 50, 87–101

musical elements, 88–89

political context, 87–88, 91–92

private group performance of, 30

song text, 89–91

text analysis, 91–93

Feld, Steven, 46

fiddle, tube. See tube fiddle (endingidi)

flattery

false praise and, 45, 49, 52–53, 58, 77, 150–51

manipulation through, 60–68, 166–68, 178–79

mockery disguised as, 49

by opportunists, 156

self-worth and, 62

by wedding performers, 63

flute. See notched flute (endere)

“Flutists’ Legal Case, The” (“Omusango gw’Abalere”), 55

historical context, 158–59

interpretations of, 163–74

lament and uncertainty in, 141, 158–74

musical elements, 159

song text, 159–61

Ssempeke’s performance of, 10

Flutists of the King (Abalere ba Kabaka) ensemble, 11

Foucault, Michel, 46, 65, 256

“Freedom” (“Ddembe”) (B. Wine), 66

friendship. See also mutuality

dissolution of, 257

love, unity, and reciprocity in, 203, 205–13

purposes of, 178–79, 189, 201

value of, 73, 206–9, 213, 257–58

Frolova-Walker, Marina, 44–45

Full Figure, 64–65, 167, 210

Gabunga, 143–44

Gaddafi, Muammar, 248, 274

Garratt, James, 43

gender and court music performance, 15–17

“Get Up” (“Situka”) (B. Wine), 66

“Gganga Had a Narrow Escape” (“Gganga Alula”). See also “They Chopped Off His Fingers” (“Baamutemako Engalo”)

historical context, 128–31, 136–37

interpretations of, 134–39

musical elements, 129, 130

punishment and mercy in, 103, 128–39

song text, 129–30, 131–33

Ssebuwufu’s performance of, 10, 128–31, 206

versions compared, 133

Ghana, 43

Gilman, Lisa, 37

Gombe, Kabenge, 17

gourd shakers (ensaasi), 14

Grasshopper (Nseenene) Clan, 69, 70, 77

gratitude, 76, 157, 177, 239–40, 242, 245–47, 253

greed

avoiding, 170–71

gluttony associated with, 76

of leaders, 49–50, 69–78, 92–93, 96, 117, 155–56, 180–87, 213, 253

of leaders’ associates, 220, 223, 226, 266–67

greed (cont’d)

leonine imagery, 180–86

in modern Uganda and Africa as a whole, 170

refusing, 251

serpentine imagery, 82, 83–84, 85

uplift rejecting, 251

ground bows (ssekitulege), 39

Guinea, 43

“Hand Him Over to Kyagulanyi” (“Mukwase Kyagulanyi”) (B. Wine), 66

“Handsome Catch a Slight Squint, The” (“Empujjo Zikwata Balungi”), 166n5

false praise in, 49, 51–59

historical context, 51–54

interpretations of, 54–58, 64

Kafeero’s performance of, 9

musical elements, 53–54

song text, 53

Hanna, Judith Lynne, 35

Hanna, William John, 35

Hannington, James, 134

harp. See bow harp (ennanga)

“Harvester of White Ants, The” (“Omussi w’Enswa”), xvi–xviii

“He Has a Lot on His Mind” (Alina Bingi By’Alowooza”)

deliberation and animosity in, 103, 115–27

interpretations of, 117–26

Kabwama’s performance of, 14, 115–17

musical elements, 115

sociopolitical contexts, 29

song text, 115–16

healing ceremonies, Kiganda, 270

Hoesing, Peter, 270

Hoffman, Barbara G., 43

horn, animal. See animal horn (eŋŋombe)

householder (nnannyinimu), 81, 83, 92, 137, 197

“Householder” (“Nnannyinimu”)

continuing relevance of, 86

cultural imagery in, 50, 84–86

historical context, 79–80

interpretations of, 81–86

Kafeero’s performance of, 9

mourning and ridicule in, 50, 79–86

musical elements, 80

song text, 80–81

“I Am Fed Up with Them” (“Mbakooye) (Kenzo song), 66

“I Would Have Given You a Large Haplochromis” (“Nandikuwadde Enkejje Entulumba”)

historical context, 143–44

interpretations of, 147–57

musical elements, 144

regret and appreciation in, 141, 143–57

song text, 144–46

Ssempeke’s performance of, 10

imperialism, 30, 239, 254–60

inanga. See trough zither (inanga)

Institutional Review Board (IRB), 25

instruments, Kiganda court. See also specific types

differences in agency and creative freedom for, 38–39

performance of songs on, 37–39

political power of, 116–17

post-attack survival of, 4, 225, 226, 232

vocal accompaniment for, 39

invocation, spiritual, 171, 239, 269–80

Islam in Buganda, 3

Janzen, John, 270

Jjunju, King

court musicians of, 143–44

war with the Bunyoro Kingdom, 261–65, 267

Jjuuko, Denis, 181–82

Johnson, Boris, 126

kabaka (Buganda king), 36, 70, 82

Kabaka Education Fund, 123

Kabalega, Omukama, King of Bunyoro, 266

Kabugo, Steven Mukasa, 17

alternative version of King Kayemba’s death, 107

interpretation of “As He Plucked Them,” 76–77

interpretation of “Baamunaanika Hill,” 221–22

interpretation of “Fair-Skinned,” 63

interpretation of “Federalism,” 94–95

interpretation of “The Flutists’ Legal Case,” 166–67

interpretation of “Gganga Had a Narrow Escape,” 137

interpretation of “The Handsome Catch a Slight Squint,” 55

interpretation of “Householder,” 84–85

interpretation of “I Would Have Given You a Large Haplochromis,” 151

interpretation of “The King Is a Lion,” 193

interpretation of “Let Me Plod with a Stick Close to Kibuuka,” 275–77

interpretation of “The Little Lion,” 178–79

interpretation of “Ssematimba and Kikwabanga,” 246

interpretation of “Unadvisable Kayemba,” 107

Kabwama, Kayondo, 14

Kabwama, Ssaalongo Paulo, 8–9, 23

biography of, 14

performance of “He Has a Lot on His Mind,” 115–17, 125, 127

Kafeero, Mukasa, 23

biography of, 9

on historical context of “As He Plucked Them,” 69–70

on historical context of “Fair-Skinned,” 60–61

on historical context of “The Handsome Catch a Slight Squint,” 51–53

on historical context of “Householder,” 79–80

performance of “As He Plucked Them,” 70

performance of “Fair-Skinned,” 61

performance of “The Handsome Catch a Slight Squint,” 53–54

performance of “Householder,” 80

performance style of, 9

on Ssuuna II, 44

Kafumbe, Damascus, xi, 4, 22n1, 23n2, 70n2, 224–25n1

Kagame, Paul, 135, 267

Kakumba, Mark, 134

Kalyagonja, Yowaana Maswanku, 10

Kamaanya, King

compared to current Ugandan leadership, 72–74, 76

court musicians of, 45, 69–78

dislike of music, 44, 60, 61

failure as leader, 76

life and reign of, 9

temperament of, 51, 53, 69, 70–71

Kaminski, Joseph, 43

Kamya, Betty, 119

Karlström, Mikael, 7, 185

Kasubi tombs rebuilding project, 95–96, 181, 182, 234–35

Kasule, Sam, 82

Kato Ruhuuga (Kato Kintu), 3

Kayemba, King

arrogance of, 108–9

attempted assassination of, 67, 103, 105–14

court musicians of, 106, 107

Kenya, 267

Kenyatta, Uhuru, 267

Kenzo, Eddy, 66

Khachaturian, Aram, 44–45

Kibirige, Jimmy Ssenfuka, 17

interpretation of “As He Plucked Them,” 71, 75

interpretation of “The Battle of Nsinsi,” 266–67

interpretation of “Fair-Skinned,” 63–65

interpretation of “Federalism,” 97–98, 99

interpretation of “The Flutists’ Legal Case,” 171–73

interpretation of “The Handsome Catch a Slight Squint,” 56–58

interpretation of “He Has a Lot on His Mind,” 122–24

interpretation of “Householder,” 83–84

interpretation of “I Would Have Given You a Large Haplochromis,” 153–56

interpretation of “The King Is a Lion,” 197–98, 200–201

interpretation of “Let Me Plod with a Stick Close to Kibuuka,” 277–79

interpretation of “The Little Lion,” 183–84

interpretation of “Ssematimba and Kikwabanga,” 245–46

interpretation of “They Show Each Other Stumps,” 211–12

interpretation of “Unadvisable Kayemba,” 108–9

interpretation of “We Love the Supreme Man Exceedingly,” 232–33

Kibirige (court flutist), 11

Kibuuka (warrior god), 30, 261–62, 263, 269–70, 272, 273–74, 275, 276, 279, 280

Kiganda conception of history, 47

Kiganda (defined), xi

Kiganda drums. See drums, Kiganda; specific names

Kiganda musical instruments, 10–14, 22. See also instruments, Kiganda court

Kiganda song, 35–39. See also court songs in Buganda

ambiguity in, 40–41

Luganda language of, 35, 37

lyric components in, 36

musical elements in, 35–36

purposes of, 36–37

Kinene, Peter, 17

on harvesting white ants in Buganda, xv–xviii

interpretation of “As He Plucked Them,” 73, 76

interpretation of “Baamunaanika Hill,” 219–21

interpretation of “Fair-Skinned,” 66–67

interpretation of “Federalism,” 95–96

interpretation of “The Flutists’ Legal Case,” 163–65, 169–71

interpretation of “Gganga Had a Narrow Escape,” 134–35

interpretation of “He Has a Lot on His Mind,” 121–22, 124–25

interpretation of “I Would Have Given You a Large Haplochromis,” 152–53

interpretation of “The King Is a Lion,” 196–97

interpretation of “Let Me Plod with a Stick Close to Kibuuka,” 279–80

interpretation of “The Little Lion,” 186

interpretation of “Poland,” 257–58

interpretation of “Ssematimba and Kikwabanga,” 247–48, 250

interpretation of “They Show Each Other Stumps,” 209–10

interpretation of “Unadvisable Kayemba,” 111–13

interpretation of “We Love the Supreme Man Exceedingly,” 232, 235–36

“King Is a Lion, The” (“Kabaka Mpologoma”)

Deziderio’s performance of, 13, 188–202

interpretations of, 193–202

musical elements, 189–90

reverence and love in, 142, 188–202

song text, 190–92

kinship

Buganda social structure, 4

conflict and, 270

deterioration of Buganda social structure, 7

fracturing, 287, 291

idea image of king as family, 222, 223

legacy and, 161–62, 169, 171, 174, 235–36, 240, 244, 280

missionaries’ devaluation of, 185

white ants story and, xvii

Kironde, Edward Ssebunnya, 17, 258–59

on historical context of “The Battle of Nsinsi,” 261–62

on historical context of “Poland,” 254–56

interpretation of “As He Plucked Them,” 73–74

interpretation of “The Flutists’ Legal Case,” 167–68

interpretation of “He Has a Lot on His Mind,” 119–22, 125–26

interpretation of “Householder,” 81–82

interpretation of “I Would Have Given You a Large Haplochromis,” 148–49, 151–53

interpretation of “The King Is a Lion,” 194–96

interpretation of “Let Me Plod with a Stick Close to Kibuuka,” 273–74

interpretation of “The Little Lion,” 180–83

interpretation of “Mawanda Loves His Men,” 210–11

interpretation of “Ssematimba and Kikwabanga,” 248–49

interpretation of “Unadvisable Kayemba,” 109

interpretation of “We Love the Supreme Man Exceedingly,” 231–32

Kisuule, Harriet, 17

interpretation of “As He Plucked Them,” 72, 75–76

interpretation of “Baamunaanika Hill,” 219, 222

interpretation of “Fair-Skinned,” 62–63

interpretation of “The Flutists’ Legal Case,” 173–74

interpretation of “He Has a Lot on His Mind,” 117–19

Kisuule, Harriet (cont’d)

interpretation of “I Would Have Given You a Large Haplochromis,” 149–51

interpretation of “The King Is a Lion,” 193–94

interpretation of “Let Me Plod with a Stick Close to Kibuuka,” 272–73

interpretation of “The Little Lion,” 179

interpretation of “Ssematimba and Kikwabanga,” 251–52

interpretation of “Unadvisable Kayemba,” 109–11

interpretation of “We Love the Supreme Man Exceedingly,” 24–25

Kityo, John Magandaazi, 17

interpretation of “Federalism,” 93–94, 99–100

interpretation of “The Flutists’ Legal Case,” 165–66

interpretation of “The Handsome Catch a Slight Squint,” 55

interpretation of “Householder,” 84

interpretation of “I Would Have Given You a Large Haplochromis,” 147–48

interpretation of “The King Is a Lion,” 199–200, 201

interpretation of “Poland,” 259–60

interpretation of “They Show Each Other Stumps,” 211–12

interpretation of “Unadvisable Kayemba,” 107–8

interpretation of “We Love the Supreme Man Exceedingly,” 25

Kkunsa, 52–53, 54

Kodesh, Neil, 6

Kony, 65–66

Kubik, Gerhard, 6

Kulthūm, Umm, 43

kwaito music, 43

Kyagambiddwa, Joseph, 37–38

on historical context of “The Battle of Nsinsi,” 262

lamellaphone (akogo), 12

lament

lack of legacy and, 161–62

of living, 281–82

over failed relationship, 280

regret and, 253

sarcastic, 79, 83

self-reflection and, 152, 153, 156

uncertainty and, 141, 158–74

Langlois, Tony, 40

leadership

adaptable and solution-based, 122–23

advice and caution, 103, 105–14, 150–51, 173, 175–80, 210–11, 219

appreciation between citizens and, 150, 153–55, 157, 219, 234

arrogance and self-centeredness, 73, 74, 92, 108–10, 119, 147, 178, 211–12, 213, 263

carelessness of, 258–59

change and, 288–89, 290

conflict avoidance, 264–66, 268

court songs links to, 49

deliberation and animosity, 103, 117–24

empathy and, 187, 259, 266

failed reciprocity in, 147–49, 157

flexibility in, 277–79, 289

follow-through and, 24–25, 123

forgiveness in, 158–59

greed and, 92–93

lack of appreciation for, 153–54

listening and dialogue as qualities of good, 44, 56–57, 108–11, 118, 171–72, 219, 251–252, 260

“little lions” in governmental systems, 180–85

morality and, 290–91

mutuality and, 57–58, 109–10

oppressive, 81–85, 109–14

overwork and, 126

persistence and, 124, 272–73, 279

profundity of death informing decision-making, 250–51

proverbs on, 124–25

punishment and mercy, 103, 128–39

qualities of good, 179, 186

resistance to change and, 163–66

responsibility and, 44, 62–63, 71–72, 75, 83, 98, 103–39, 155–56

selfishness and, 71, 73, 74–75, 92, 178, 211–13, 263

self-obsession of, 156, 157

social responsibilities of, 251–52

songs about, 103–39

thoughtless, 123–24

trust and, 173–74

unrealistic expectations for, 151–52

legacy

ancestral, 196

cultivating a, 252–53

kinship and, 161–62, 168–69, 171, 174, 235–36, 240, 280

“Let Me Plod with a Stick Close to Kibuuka” (“Ka Nsimbe Omuggo awali Kibuuka”)

background story, 269–70

disagreement and invocation in, 239, 269–80

familial and marital conflicts in, 30

interpretations of, 272–80

musical elements, 270–71

song text, 271–72

Ssempeke’s performance of, 10

“Little Lion, The” (“Akawologoma”)

historical context, 175–76

interpretations of, 178–87

musical elements, 176

power and selfishness in, 142, 175–87

song text, 176–77

Ssempeke’s performance of, 10

living in the moment, 29, 239, 241, 244–46, 247, 253, 290

Lohman, Laura, 43

Lonsdale, John, 92, 118, 153, 226

Lord’s Resistance Army, 66, 135, 265

loss

denial of, 98

inability to accept, 164

intersection with spirituality, 281–82

isolation and, 162, 186, 250

mutual, 97

of mutuality, 117

poor leadership and, 121–22

of reciprocity, 146, 157

songs about, 239–92

tragedy of, 261–62, 264–65

love. See also loyalty; reverence

death and, 288, 290

for friends, 206, 208–9, 212–13

for king, 188–237

of the king for his subjects, 142, 207, 212–13

for lion owned by king, 175–78, 186–87

loyalty

to king, 36, 153, 157, 218, 220–21, 222–23, 226, 232–34, 268

of leaders, 71, 179

negative side to, 141

power relations and, 44–45, 122

songs about, 141–202

universality of, 142

lubaale (deity), 262

Luganda language

“deep Luganda,” 41, 85–86

defined, xi–xiii

Lule, Yusuf, 4

Lumoonyere (King Ssuuna II’s flute), 51

Lwanga, Charles, 134

lyre, bowl. See bowl lyre (endongo)

lyrical interpretation. See also specific songs and interpreters

biased views in, 27–28

defined, 21

ethical considerations and interpretive process, 25–27

indigenous representation in, 33–35, 46–47

recasting (or reimagining) process in, xviii–xix, xxi–xxii, 18, 21, 32, 34–35, 40–41, 50

working with composer-performers, 22–23

working with interpreters of songs’ meanings, 23–25

Mackinlay, Elizabeth, 33

Magoba, Waalabyeki, 17

Majwala, Ssaalongo Ssennoga, 9, 23

on advisory role of king’s private harpist, 28

on background of “The Pebble Is Breaking Me,” 281–82

biography of, 14–15

bow harp performances, 14, 22

performance of “The Battle of Nsinsi,” 261, 263–65, 268

performance of “The Pebble Is Breaking Me,” 282–88

Makubuya, James, 116

Malawi, 37

Mali, 43

manipulation

breakdown of trust through, 97, 118, 183

ingratiation through, 178–79

by leaders, 50, 54, 87–101, 181, 237, 278

of leaders, 54–58, 60, 64–65, 94, 171–72, 174, 203–4, 220

mediating relationships through, 168

of subordinates, 112

of system, 167–68, 183–84, 197, 220, 237, 248–49, 259

Martin, James, 134

materialism, 257–58, 281, 288–92

Mawanda, King, 203, 205–13

“Mawanda Loves His Men” (“Mawanda Ayagala Abasajja Be”)

historical context, 205–6

interpretations of, 209–13

love, unity, and reciprocity in, 203, 205–13

musical elements, 207–8

song text, 207–8

Ssebuwufu’s performance of, 10

Mayiga, Charles Peter, 17, 95, 181–82

Mayinja, Ronald, 66

Mazrui, Ali, 234

mercy, 54, 59, 103, 128–39

Micklem, James, 35–36

mindset, 7, 34, 120, 183, 274, 250

mortality, 45, 239–40, 265, 281–92. See also death

mourning, 50, 79–86

Mukasa, Joseph, 134

Mukasa (chief administrator of the gods), 171

Museveni, Yoweri Kaguta

commentaries referencing, 17, 24–25

disappointment with, 100

eventual death of, 290–91

“Federalism” and, 87–101

flattery of, 167

Full Figure and, 64–65, 210

government oppression under, 83, 184, 185–86, 222, 248–49

isolation of, 72, 110, 196–97

leadership of, 104, 114, 118, 148, 150, 151, 200–201, 220

opposition to, 119–20, 163, 259–60, 268, 272–73, 274, 278

party system dissolution under, 8

power seizure, 1986, 4

reign longevity of, 7–8, 58, 274

restoration of kingdoms, 87

satirical song about, 65–66

self-centeredness of, 74, 92, 97–98

support for, 66

treatment of Buganda King Sir Mutebi II, 62, 194, 196–97, 219, 233, 234

as a young leader, 111

Mushroom (Butiko) Clan, 17

Musicians of the King (Abadongo ba Kabaka) court ensemble, 11, 13

musota (snake), 194

Mutebi II, King Ronald

commentaries referencing, 17

coronation of, 4, 224, 230

court musicians of, 10, 225

cross-county tour of, 230–31, 233

Deziderio’s performance of “Federalism” for, 88

father’s influence on, 231

initiatives of, 124, 220–21, 234–35

Museveni’s treatment of, 62, 194, 196–97, 219, 233, 234

praise of, 230–31

Muteesa I, King

court musicians of, 158

European ridicule of, 199–200

lion at court of, 175–76, 181, 186, 187

Muteesa II, King Sir Edward

court musicians of, 9–14, 22, 26, 205–6, 214–18, 220–21, 224–25, 232, 237

death of, 4, 111–12, 225, 290

example to son, 231

first exile of, 3, 224–25, 230, 232

loyalty of subjects, 179

praise of, 204, 224–31

return from exile, 16

second exile of, 4, 12, 225, 230

Ssebuwufu as court page for, 10, 205–6

university named after, 123

as Uganda’s first president, 3–4, 88, 200

mutuality. See also reciprocity

between allies, 211

as core African societal value, 45–46, 203

amid disagreement, 212

extra-temporal, 210, 230, 235–36

friendship and, 213

between government and the people, 120–21

in human relationships, 143–44, 146–47, 153, 178–79, 248–49, 253

in Kiganda performance practices, 39

between king and aides, 53

between king and court musicians, 116–17, 158–74, 214–37, 224–37

between king and subjects, 45–46, 64, 97, 106, 186, 210–11, 231, 237

between leaders and their people, 57–58, 109–11, 118–19, 142, 151–53, 157, 179, 193–94, 196–97, 200–201, 207, 220–23, 232–33

mediating, 163–64, 192, 270, 275–77

mutuality (cont’d)

rejuvenation of people through, 231

between rulers and opposition, 120–21, 211, 259–60

songs about, 203–37

of trust, 141

between wildlife species, 93

Muyinda, Evalisto, 12, 148, 185

Mwanga II, King

court musicians of, 128–39

Uganda Martyrs and, 134–35

Nakachwa, Francisca, 17

nankasa (also namunjoloba; Kiganda drum), 14

Nannyonga, Sylvia, 36

Nannyonga-Tamusuza, Sylvia, 15, 16, 41

National Resistance Movement (NRM), 7, 72–74, 87, 118

ndongo (wedding dance), 185

nepotism, 76–77

ngòmà (healing ceremony), 270

Nishikubo, Ryo, 18

Njabala, tale of, xix–xxii

Nketia, J. H. Kwabena, 6, 39, 40–41

Nnakuzaabasajja, Antanansi, 10

nnamunswa (queen), 188

nnannyinimu. See householder (nnannyinimu)

“Nnannyinimu” (“Householder”). See “Householder” (“Nnannyinimu”)

nnandigobe (banana), 230

nnantanyoomebwa (leader’s honorific), 197

Nooshin, Laudan, 42, 44

notched flute (endere), 11–12, 39

Bisaso as performer, 12

Ssempeke as performer, 271

Sserwanga as performer, 208, 241

Ssuuna II as performer, 51–52

Nyanzi, Stella, 184–85

Obote, Apollo Milton, 3–4, 7, 82, 200–201, 274

Museveni’s defeat of, 7

obusuulu (land tax), 88

“Officer, I Do Not Fight with You” (“Afande Sirwana Naawe”) (B. Wine), 66

okulanga (to announce), 28

okusamira (spirit mediumship), 270

okuyimba (to sing), 39

olubiri (Buganda’s royal court), 28

olusa (marsh), 87

oluwa (the giver), 52

oluwalo (land tax), 88

Omojola, Bode, 34–35, 41

omulanga (king’s private harpist), 28–29

omumbowa (royal bodyguard), 52

omunazi (xylophone primary melody player), 129, 206–7

omusiige (court page). See court pages

omuziro (primary totem), 70

omwawuzi (xylophone secondary melody player), 129, 206–7

Opera News, 266

oral traditions, studying, 46–48

Oromo, Arsi, 45

Otafiire, Kahinda, 17, 74

Ouattara, Issiaka, 196

Padwick, Constance E., 199–200

“Pebble Is Breaking Me, The” (“Akayinja Kammenya”), 15

effects of death in, 30

historical context, 281

interpretations of, 289–92

mortality and spirituality in, 239–40, 281–92

musical elements, 282

song text, 282–89

People Power Movement, 64, 155

Peterson, Derek, 6–7

Pier, David, 41, 85, 226, 234

Players of Akadinda Xylophones (Abaakadinda) court ensemble, 10

“Poland” (“Polanda”)

Deziderio’s performance of, 13, 255–56

historical context, 29–30, 254–55

interpretations of, 257–60

musical elements, 255–56

song text, 256

war and imperialism in, 239, 254–60

political engagement, songs about, 43, 49–101. See also specific leaders and institutions

Politz, Sarah, 65

poverty, 92, 96, 99, 137, 149, 152–53, 157, 210

power relations, 41–46

advice and caution in, 105–14, 163–64

collaboration and, 31, 33–34

between composer-performers and audience, 25

between court musicians and king, 45, 51–55, 69, 70–71, 77–78, 106–9, 116–17, 138, 158–74, 187, 189–90, 214–37

between court musicians and public, 28–29, 49–50, 175–76

decolonizing, 33–35

discovering and discussing, 27–28

ethnography and, 31

failed reciprocity and, 147

flattery and, 45, 178–79

of king vs. power of national political leaders, 188–89, 195–202, 237

loyalty and duty in, 44–45

lyrical interpretations of, 24–25, 26–27, 30, 32

music as a medium for, 41–42

musical artists under authoritarian regimes, 42–45

mutuality and, 275–77

opposition’s methods, 119–23

pillars of, 141

posturing in, 167–68

respect and, 44, 45

role of king’s private harpist, 28–29, 42

selfishness and, 142, 175–87

transnational, 239

trust and, 45, 112–13, 233–34

violence and, 45–46, 264–65

praise, genuine, 204, 214–23. See also false praise

prejudice, fear of otherness and, 165–67

proverbs and sayings, Kiganda

on advice, 151

on betrayal, 170

on caution, 111–12

on debtor-lender relations, 275–77

on excessiveness, 24

on fresh leadership, 278–79

on generosity, 76

on industriousness and leadership, 124–25

insights gained from, 78

on knowledge, xix

on lack of follow-through, 24–25

on need for advice, 151

on nepotism, 77

on persistence, 279

on personal efforts, 113

on physical appearance, 63

on success and friendship, 73

on war, 241, 266

Przybylski, Liz, 33

Pun, Sara Hong-Yeung, 33

punishment

of Christian martyrs, 134–35

consequences of, 170, 186

of court musicians, 55, 103, 128–39, 158–74

karma and, 246

subtlety avoiding, 85–86

Qashu, Leila, 45

reciprocity. See also mutuality

appreciation and, 150–51

conceptions of, 280

failed, 50, 93–100, 146–51, 154, 157, 163, 272

in human relations, 76

importance of, 232

in human relations, 76

between king and court musicians, 44, 106, 117–18

of King Muteesa II, 215–16

between leaders and subjects, 12, 57, 137, 139, 142, 179, 189, 193, 198, 201, 203, 205, 208–13, 219–20, 223

mindfulness and, 245–46, 253

multivalent depiction of, 173–74

between musicians, 39

notion of, 147

between opposing political actors, 120–21, 211

as practice of mutual growth, 242, 245

present-mindedness and, 246

prioritizing, 258

of punishment and mercy, 138

search for, 153

selective, 98–99

subliminal, 272

trust and, 208–10

of violence, 245, 247–48

in white ants’ harvesting procedure, xvii, xviii

Reed, Daniel, 47

regret, 159, 239, 242, 282

appreciation and, 141, 143–57, 164

fate and, 171

respect

consequences of disrespect, 55, 137, 141, 158, 166, 171, 174, 192

for king, 141–42, 189, 192–202, 203–4, 221–22, 224–37

mutual, 113, 150

for others, 95–96

by rulers for subjects, 44, 45, 53, 59, 109, 252

responsibility

lack of, by president, 219

of leaders for victims of violence, 136–37

leaders’ rejection of, 222

of leaders to subjects, 44, 62–63, 71–72, 75, 83, 98, 103–39, 189, 206, 216, 221, 223, 230, 231, 232, 235–37, 252, 267

of subjects to leaders, 156, 205, 215, 226

songs about, 103–39

reverence. See also love

familiarity and, 192, 221

for king, 142, 187, 188–202, 214–23

ridicule

of Buganda’s king by Westerners, 199–200

of leadership, 212

mourning and, 50, 79–86

Robinson, Dylan, 34

Rubadiri, David, 185

Rugarama, Joseph, 134

Rwanda, 267

Sanga, Imani, 34, 54–55

sarcasm, 52, 61, 66–68, 79–80, 81

satire, 49, 56, 61, 62–68, 196

sayings, Kiganda. See proverbs and sayings, Kiganda

Schoenbrun, David L., 270

selfishness

avoiding, 183–84, 253

of leaders, 49–50, 69–78, 98, 117–20, 122, 169–71, 174, 180–81, 267, 291

power and, 142, 175–87, 189

reciprocity and, 148

in Ugandan society, 95

selflessness, 76, 209, 230, 263, 267–68

self-preservation, 123, 251–52

Serwadda, Moses, 185

Serwanga, Noah, 134

Siblings in Love (Abooluganda Kwagalana) ensemble, 12, 22

Sorbo, Brett, 18

South Africa, 43

sovereignty, king’s, 194–98, 201

ignorance of, 92

spirituality, 101, 231, 239–40, 270–74, 280, 281–92

ssaabasajja (king’s honorific), 194

ssaabataka (supreme landowner; king’s honorific), 194

Ssebuwufu, Musisi, 10

Ssebuwufu, Semeo Ssemambo

on background of “Baamunaanika Hill,” 215–16

on background of “Mawanda Loves His Men,” 205–7

biography of, 9–10

on history of “Gganga Had a Narrow Escape,” 128–31, 133

interpretation of “The Harvester of White Ants,” xviii

performance of “Gganga Had a Narrow Escape,” 129–31, 133, 135–36, 206

performance of “Mawanda Loves His Men,” 205–8

as resident page, 10, 205–6, 215–16, 219–21

as xylophonist, 9, 129

ssekitulege. See ground bows (ssekitulege)

Ssemakookiro, Prince, 262

ssemandaagamenyembazzi (a man like charcoal that breaks an axe), 194

“Ssematimba and Kikwabanga” (“Ssematimba ne Kikwabanga”)

Bisaso’s performance of, 13, 241, 242

historical context, 29, 241–42

interpretations of, 245–53

musical elements, 242

song text, 242–44

Sserwanga’s performance of, 10

war and fate in, 239, 241–53

Ssempeke, Albert Muwanga, 8–9, 23

author and, 22

biography of, 10–12

Bisaso as son of, 12

bow harp performances, 22

on context of “Let Me Plod with a Stick Close to Kibuuka,” 269–70

as court musician, 225

on historical context of “The Flutists’ Legal Case,” 158–59

on historical context of “I Would Have Given You a Large Haplochromis,” 143–44

on historical context of “The Little Lion,” 175–76, 187

legacy continued by Bisaso, 13

performance of “The Flutists’ Legal Case,” 159

performance of “I Would Have Given You a Large Haplochromis,” 144–46

performance of “Let Me Plod with a Stick Close to Kibuuka,” 271

performance of “The Little Lion,” 176

sound recording by, 36

Ssendawula, Jessy, 17

on historical context of “The Battle of Nsinsi,” 262–63

interpretation of “As He Plucked Them,” 72–73

interpretation of “The Battle of Nsinsi,” 265–66, 267, 268

interpretation of “Fair-Skinned,” 65–66

interpretation of “Federalism,” 96–97

interpretation of “Gganga Had a Narrow Escape,” 135–37

interpretation of “The Handsome Catch a Slight Squint,” 54–55

interpretation of “Householder,” 83

interpretation of “The King Is a Lion,” 198–99

interpretation of “The Little Lion,” 184–86

interpretation of “The Pebble Is Breaking Me,” 289–91

interpretation of “Poland,” 258

interpretation of “Ssematimba and Kikwabanga,” 246–47, 249–51, 252

interpretation of “Unadvisable Kayemba,” 113–14

interpretation of “We Love the Supreme Man Exceedingly,” 233–35

Ssentamu, Robert Kyagulanyi. See Wine, Bobi

Sserwanga, Ludoviiko, 8–9, 23

author and, 22

on background of “Ssematimba and Kikwabanga,” 241–42, 245

on background of “They Show Each Other Stumps,” 206

on background of “We Love the Supreme Man Exceedingly,” 224–25

biography of, 10–12

Bisaso as nephew of, 12

on celebrations marking Muteesa II’s return from exile, 16

as court musician, 219–21, 223–26

on historical context of “Baamunaanika Hill,” 214–15

legacy continued by Bisaso, 13

performance of “Baamunaanika Hill,” 216–18

performance of “They Show Each Other Stumps,” 207–9

performance of “We Love the Supreme Man Exceedingly,” 226–30, 234

Ssuuna II, King

appearance of, 52, 60–61, 63–64

court musicians of, 51–68, 158, 167, 168, 174

death of, 50, 79–86, 225–26

“The Flutists’ Legal Case” and, 158–74

“The Handsome Catch a Slight Squint” and, 49, 51–59, 166n5

“Householder” and, 50, 79–86

life and reign of, 9

as musician and music lover, 44, 51–52, 53, 60–61, 158

oppression under, 79–86, 225–26

similarity of current leaders to, 65–66

“Ssematimba and Kikwabanga” and, 29

temperament of, 51–52, 53, 56, 57, 58, 60

vanity of, 49, 52–53, 55, 60

war under, 241–42

Stalin regime, 44–45

Steingo, Gavin, 43

storytelling sessions, xix–xxii

subalternity, resistance and, 42–43

Supple, Vaughan, 17–18

telos, 247–48

temporality, concepts of, 46–48

termites, xvi–xviii

“They Are Repeating Themselves” (“Bizzeemu) (Mayinja song), 66

“They Chopped Off His Fingers” (“Baamutemako Engalo”), 128. See also “Gganga Had a Narrow Escape” (“Gganga Alula”)

Bisaso’s performance of, 131–33

interpretations of, 134–39

musical elements, 130–31

punishment and mercy in, 103, 128–39

song text, 131–33

versions compared, 133

“They Show Each Other Stumps” (“Balagana Enkonge”)

historical context, 206

interpretations of, 209–13

love, unity, and reciprocity in, 203, 205–13

musical elements, 207–9

song text, 208

Sserwanga’s performance of, 10, 207–9

Things Fall Apart (Achebe), 246–47

thumb piano. See lamellaphone (akogo)

Title in Hand (Kyapa mu Ngalo) project, 182

Tracey, Andrew, 82

Tracey, Hugh, 82

trough zither (inanga), 12

trust

betrayal of, 111–13, 121–22, 148, 163, 180, 192, 193, 234, 276

caution and, 66, 111–12, 149–50, 173, 183

of court musicians by king, 53, 56–57, 223

cultivating, 44–45, 99, 211, 221, 223

losing, 222

mutual, 141, 201, 208–10, 233–34

in one’s guts to make decisions, 172

tube fiddle (endingidi)

Bisaso as performer, 12

Deziderio as performer, 13, 88–89, 189–90, 255–56

Kabwama as performer, 14

Sserwanga as performer, 216, 226

Uganda. See also Buganda, Kingdom of; specific leaders

as British protectorate, 3, 91–92, 254–56

constitutional changes, 119

constitutional referendum, 2005, 8, 87

ethnic nationalism in, 6–7, 120, 121–22, 234, 265

federalism rejected by ruling government, 4, 87–101, 148

independence of, 3–4

kingdoms’ reinstatement, 1993, 7–8, 93

kingdoms’ status and power in, 3, 4, 6–7, 188–202, 233–34

Lugbara people of, 48

post-1996 political landscape, 7–8, 17, 22, 23–25, 27–28, 32, 50, 58 (See also specific public figures, initiatives, and events)

post-independence leadership, 4

regional inequality in, 98–100

Uganda Agreement of 1900, 3, 4, 6

Uganda Martyrs, 134–35

Uganda Museum (Kampala), 12, 262

Uganda National Examinations Board, 15

Uganda National Theatre, 12

Uganda People’s Congress, 4

Ugandan Bush War, 24, 64, 72, 74, 148

“Unadvisable Kayemba” (“Kayemba Nantabuulirirwa”), 67n11

advice and caution in, 103, 105–14

Deziderio’s performance of, 13

historical context, 105–6

interpretations of, 107–14

musical elements, 106

song text, 106

uncertainty

expectations and, 244, 246

fate and, 246

greed and, 183

honor and, 250

lament and, 141, 158–74

political, 137, 200

self-preservation and, 252

of vocation, 82–83

unity. See also mutuality; reciprocity

between king and subjects, 198, 203

lack of, 92, 123

prosperity and, 212

working toward, 170–71, 205–13

violence

avoiding through wise leadership, 198–99, 250

colonialism and, 255

in contemporary politics, 84, 85, 163–64, 184–85, 222

cyclical, 242, 253, 255

evading through manipulation, 51, 54

impact of, 103, 134–37

materialism and, 257–59, 260, 281, 292

power relations and, 45–46

reciprocal, 245–48

resulting from poor leadership, 105, 231, 233

senselessness of, 135, 239, 264–66

ubiquitous nature of, 30, 239

Wachsmann, Klaus, 37, 241

war. See also violence

civil, 66, 239, 256, 261–68

futility of, 256–57

imperialism and, 239, 254–60

tragedy of, 239, 241–53, 264–65, 268

uncertainty in, 244–45

“We Love the Supreme Man Exceedingly” (“Ssaabasajja Tumwagala Nnyo”)

historical context, 224–26, 230

interpretations of, 24–25, 231–37

love and respect in, 204, 224–37

musical elements, 226–27

song text, 227–30

Sserwanga’s performance of, 10

“We Shall Wear the Crown” (“Tuliyambala Engule”) (B. Wine), 66

“We Stand with You” (“Tubonga Naawe) (joint song), 66

weddings

Christian missionaries’ interference in Kiganda traditions, 185

court musicians’ performances, 11, 13, 22

flattery of bride, 63

white ants, harvesting, xv–xviii

Wine, Bobi

commentaries referencing, 17, 25, 58, 66, 110–11, 119, 155, 210, 252, 272–73, 274

Museveni’s attempted assassination of, 163

songs by, 66, 274

World War II, 29–30, 239, 254–56, 258, 260

xylophones (akadinda and amadinda)

Bisaso as performer, 12

interlocking parts, 39, 129, 206–7

Majwala as performer, 14

at Mmengo court, 10

music for, 37, 38

Ssebuwufu as performer, 10, 129, 206–7

zither, trough. See trough zither (inanga)

❧ part i: foundations