Did you Know this about About Music and Dance in Buganda?

When mediums of balubaale (gods) would make an appearance, they were accompanied by drumming, dancing and singing. The drums were and are still made from hallowed, rounded pieces of wood that are large at the top and narrow toward the bottom with a flat bottom to allow for stable seating. They are covered with cow skin on top and bottom, and both ends are joined by tightly rolled pieces of cow hide that also serve as the tuning mechanism. Some drums are played with hands and some with sticks.

However, the first Buganda drum was not a drum at all. It was a fibre from a stem of the type of banana that produces banana wine. After the men had drunk of the wine and were happy, one tautly tied the fibre ends to each of his thighs and started playing a rhythm that said, abakisimba, bebakiwoomya (those who planted it, made it test so good). The first of the traditional Ugandan drum came next and was made from a hallowed girikiti tree with cow skin. It was called embuutu (the main drum that “speaks”). Overtime, an ensemble was created in the following order: the shakers, made from various hallowed plant materials and filled with seeds or small rocks to spice the rhythm; engalabi (a long drum that was covered with calf or goat skin and now is covered with monitor lizard skin, that adds variations); namunjoloba (a small high-pitched drum that plays an unchanging rhythm called tuluba); nankasa (same size as namunjoloba, but not as high-pitched, that adds variations and signals changes for both musicians and dancers); empuunyi (bass drum which maintains the rhythm/beat/temple); and the second drum (tenor – that enriches the main drum).

Besides music being an important aspect of celebrations such as weddings or when welcoming visitors, it played a special role in other traditional and spiritual functions. During the ceremony of the last funeral rites (okwaabya olumbe), the long drum was usually played and songs sung, one of which was “ekiro kitwaala omunaku (the night takes the destitute). It was played the eve of the heir installation and it meant that the current night was consuming death and sadness, and making way for new life. The last funeral rites were conducted a few days after burial to allow time for the deceased’s property to be revealed and for relatives coming from far to arrive in time. It was a function that served as a family reunion where relatives got to know each other.

Another important function accompanied by special music was when invoking the gods or spirits. A rhythm called tigga was played to invoke the presence of the spirits, who, upon being pleased or angered, would speak through their mediums or possess family members. This manifestation still happens today; when the rhythm plays, some individuals will undoubtedly be overtaken by an invisible force and may roll on the ground and speak in voices that are unlike their own, among other manifestations.

Music was also one of the mediums in which the voice and concerns of the common man reached the king. It is said the popular song, “wandyako e nnyama, tabaala ofe” (you ate my meat; die in war), was composed during Kabaka Ssuuna II reign. Ssuuna had more 300 wives and concubines. In Buganda, all women belong to the king, so when he wanted to take any woman as his own, he did, even if she was married. As a husband, you were supposed to actually thank the king for choosing your wife. It came to be that men became disgruntled with Ssuuna’s insatiable appetite, so they sent a message through a musician. The message wished him death in battle. It is said that when Ssuuna learned of the message, his admirations became less rampant.

Next, I will share the different types of dances and the purposes they served. Alternatively, you can visit #entandatours.com for a comprehensive lesson on Buganda music.