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The Kabakaâ•Žs Royal Musicians of Buganda-Uganda: Their Role And

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The Kabakaâ•Žs Royal Musicians of Buganda-Uganda: Their Role And Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2006 The Kabaka's Royal Musicians of Buganda- Uganda: Their Role and Significance during Ssekabaka Sir Edward Frederick Muteesa II's Reign (1939-1966) Damascus Kafumbe Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC THE KABAKA’S ROYAL MUSICIANS OF BUGANDA-UGANDA: THEIR ROLE AND SIGNIFICANCE DURING SSEKABAKA SIR EDWARD FREDERICK MUTEESA II’S REIGN (1939-1966) By DAMASCUS KAFUMBE A Thesis submitted to the College of Music in partial fulfillment of the requirements for the degree of Master of Music Degree Awarded: Fall Semester, 2006 Copyright © 2006 Damascus Kafumbe All Rights Reserved The members of the Committee approve the thesis of Damascus Kafumbe defended on June 2, 2006. __________________________ Frank Gunderson Professor Directing Thesis __________________________ Douglass Seaton Committee Member __________________________ Joseph Hellweg Committee Member The Office of Graduate Studies has verified and approved the above named committee members. ii Dedicated to the Kabaka’s Royal Musicians of Ssekabaka Muteesa II and In Memory of Mr. Albert Ssempeke iii ACKNOWLEDGMENTS I am indebted to my chair Professor Frank Gunderson, committee members Professors Douglass Seaton and Joseph Hellweg, and external advisor Professor Lois Ann Anderson for much advice and assistance. I am very grateful to all my interviewees, the late Mr. Albert Ssempeke, Mr. Deziderio Ssalongo Kiwanuka Matovu, Mr. Ludovik Sserwanga, Mr. Kabwaama, Mr. Kafeero Mukasa, and Mr. Waalabyeki Magoba. Without their contribution, this thesis would not have materialized. To my dear parents Mr. and Mrs. Fred and Ruth Sserunkuuma, for whom there is no adequate means of expressing my gratitude, I shall always be grateful. To my beloved one and best friend in the world, Betty Nayiga, my deepest thanks for everything. Further, I am grateful to editor Margaret Van Every for her voluntary tutelage in advanced writing skills and editorial suggestions. I also thank the following people for their invaluable support, both during the research and writing of this thesis, including financial and material contributions towards my fieldwork trip to Uganda during the summer of 2005, friendship and love, suggestions, comments, encouragement, prayers, and hospitality: Pastor Ivey Williams, Marilyn Campbell, Herman and Gita Pitter, Nathanael Fareed Mahluli, Robert Branson, Martha Lekwat, Kimberly Danner, Betsy Drouin, Dajhia Ingram, Victoria Williams, Sam Bell III and Betty Castor, and Professors Benjamin Koen, Mary Pohl, James K. Makubuya, and Jean Kidula. iv TABLE OF CONTENTS LIST OF FIGURES……………..……………………………………………………......ix Maps……………………………………………………………………………...ix Plates……………………………………………………………………………. ix LIST OF COMPACT DISC TRACKS……………………………………………………x ORTHOGRAPHY, TRANSLITERATION, AND TRANSLATION…………………...xii ABSTRACT………………….………...……………………………………………….xiii INTRODUCTION………………………………………………………………………...1 Purpose……………………………………………………………………. ……..1 Background………………………………………………………………………1 Theoretical Framework and Significance…..……………………………….….6 Survey of Literature……………………………………..……………………....7 Methodological Orientation……………………………………………………..9 Organization of the Thesis……………………………………………………..10 CHAPTER 1: THE ROLE AND SIGNIFICANCE OF THE KABAKA’S ROYAL MUSICIANS BEFORE MUTEESA II’SREIGN………………………………………..11 Introduction……………………………………………………………………..11 The Role and Significance of the Kabaka’s Royal Musicians before Muteesa II’s Reign………………………………………………………………..12 Summary………………………………………………………………………...19 CHAPTER 2: THE KABAKA’S ROYAL MUSICIANS OF MUTEESA II’S REIGN..21 Introduction……………………………………………………………………..21 The Musicians’ Privileges and Remuneration………………………………. 21 The Musicians’ Training and Recruitment…………………………………...22 v Types of Musicians……………………………………………………………...26 Categories and Labels of Musicians...........…………………………………....27 Ensembles of Musicians………………………………………………………...28 Summary………………………………………………………………………...31 CHAPTER 3: THE POLITICAL AND SOCIAL ROLE OF MUTEESA II’S ROYAL MUSICIANS ……………………………………………………………………………32 The Political and Social Role of the Kabaka’s Royal Musicians within the Lubiri during Muteesa II’s Reign……………………………………...32 The Political and Social Role of the Kabaka’s Royal Musicians outside the Lubiri during Muteesa II’s Reign……………………………………...34 The Political and Social Role of Muteesa II’s Royal Musicians after His Reign …………………………………………………………………….36 Summary………………………………………………………………………...39 CHAPTER 4: SONGS PERFORMED BY MUTEESA II’S ROYAL MUSICIANS…...40 Introduction……………………………………………………………………..40 Songs in Reference to the Precolonial and Slave Trade Times (-1894)….…..40 Song 4.1: Balaga(ana) Enkonge (“They Show Each Other Tree Stumps”)……..40 Song 4.2: Kayemba Nantabulilirwa, Olisaabala bwa Bumba (“Kayemba Who Does Not Listen, You Will Sail in the Clay One”)………………………………41 Song 4.3: Nandikuwadde Enkejje Entulumba (“I Would Have Given You Enkejje Entulumba”) ….…………………….………………………………....................42 Song 4.4: Bwe yazimaanya (“The Way He Plucked Them”)……………………44 Song 4.5: Ssematimba ne Kikwabanga (“Ssematimba and Kikwabanga”)……...45 Song 4.6: Olutalo olw’e Nsiisi (“The War at Nsiisi”)……………………...……46 vi Song 4.7: Kabirinnage (“The Light-skinned One”)…………………………......46 Song 4.8: Empujjo Zikwata Balungi (“A Slight Squint Is a Feature Possessed by Good-looking Ones”)…………………………………………………………….46 Song 4.9: Nannyinimu (“Household Head”)………………..…………………...48 Song 4.10: Omusango gw’Abalere (“The Flutists’ [Royal Enclosure] Court Case”)……………… ………………………………………………........49 A Songs in Reference to European Exploration and Christian Missionary Times……………………………………………………………….51 Song 4.11: Akawologoma (“The small lion”)…..………...………………...........51 Songs in Relation to Colonial Times (1894-1962)…………………………….54 Song 4.12: Kabaka Mpologoma (“The King is a Lion”)…………..…………….54 Song 4.13: Polanda (“Poland”)………..……………….……………………..…56 Song 4.14: Akasozi Baamunaanika (“The Hill Baamunaanika”)………………..58 Songs in Reference to Post-independence Times (1962- )……………………62 Song 4.15: Ka Nsimbe Amuggo awali Kibuuka (“Let Me Plant a Stick Where Kibuuka Is”)…………………………….……………………………….62 Song 4.16: Alina Bingi By’alowooza (“He Has Many Things He’s Thinking About”)………………………………………………………………...63 Song 4.17: Ssaabasajja Tumwagala nnyo (“Ssaabasajja, We Love Him Exceedingly”)………………………………………………………………66 Song 4.18: Federo (“Federalism”).……………………………………………...69 Summary………………………………………………………………………...73 CONCLUSIONS…………………..………………………………………………….....74 vii APPENDICES…………………………………………………………………………...77 A. Concise Biographies of Musicians and Other Consultants...……………77 B. List of Interview Questions………….………………….……………….....80 C. Glossary of Key Kiganda Terms Used…...………….……………………81 D. Chronology of Buganda’s Kings...…………………………………...........91 E. Approval of Use of Human Subjects in Research...………………….…..94 REFRENCES………………………………………………………………………….....93 List of Archives Consulted….……………………………………………...…..93 List of Interviews Cited………………………………………………………...94 Bibliography………………………………………………………………….....96 BIOGRAPHICAL SKETCH…………………………………………………………...101 viii LIST OF FIGURES Maps Map 1. Maps of Uganda and Buganda.................................................................................2 2. Map of East Africa…...............................................................................................3 Plates Plate 0.1 Kabaka Muteesa II………………….……………….…………………………….5 1.1. Speke and Grant being received in Muteesa I’s lubiri (Speke 1863)…................13 1.2. Muteesa I’s musicians entertaining Speke and Grant (Speke 1863)……………..14 4.1. Ssempeke Albert Muwanga singing Akawologoma to the accompaniment of the baakisimba drum. Photograph: Damascus Kafumbe, 2005............................53 4.2. Deziderio Ssalongo Kiwanuka Matovu performing Polanda to the accompaniment of the ndingidi (tube-fiddle). Photograph: Damascus Kafumbe, 2005 ………………………………................57 4.3. Sserwanga Ludovik performing Akasozi Baamunaanika to the accompaniment of the ndingidi (tube-fiddle); other pictured instruments include another ndingidi and drums. Photograph: Damascus Kafumbe, 2005....................................................60 4.4. Kabwaama performing Alina Bingi Byalowooza to the accompaniment of the ndongo (bowl-lyre). Photograph: Damascus Kafumbe, 2005..............................65 ix LIST OF COMPACT DISC TRACKS In Buganda it is conventional to derive song titles from their opening lines. This is the case for most songs listed below, as well as for those songs on the compact disc that accompanies this thesis. Track 1. Song 4.1: Balaga(ana) Enkonge (“They Show Each Other Tree Stumps”). Performed by Sserwanga Ludovic. Recorded by Damascus Kafumbe at Kamwookya town, July 15, 2005…..…………………………………………………………........................41 2. Song 4.2: Kayemba Nantabulilirwa, Olisaabala bwa Bumba (“Kayemba Who Does Not Listen, You Will Sail in the Clay One”). Told by Deziderio Kiwanuka Ssalongo. Recorded by Damascus Kafumbe at Kamwookya town, July 20, 2005.………………...42 3. Song 4.3: Nandikuwadde Enkejje Entulumba (“I Would Have Given You Enkejje Entulumba”). Performed by Ssempeke Muwanga Albert. Recorded by Damascus Kafumbe at Kamwookya town, July 12, 2005...…………………………………………43 4. Song 4.4: Bwe Yazimaanya (“The Way He Plucked Them”). Performed by Kafeero Mukasa. Recorded by Damascus Kafumbe at Nakasero town, July 28, 2005…………...45 5. Song 4.5: Ssematimba
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