Baakisimba: Gender in the Music and Dance of the Baganda People of Uganda

Description

Originally a royal court dance, baakisimba asserted the authority of the king as the head of Baganda society. After the abolition of kingship in 1967, baakisimba dance began to be performed in other contexts, with women sometimes playing the accompanying drums-traditionally a man's role-and with men occasionally performing the dance. Sylivia Nannyonga-Tamusuza argues that the music and dance of the Baganda people are not simply reflective of culture; baakisimba participates in the construction of social relations, and helps determine how these relations shape the performing arts. Integrating a study of foregrounds the conceptualization of gender as a time-specific cultural phenomenon. Illuminating the complex relationship between baakisimba and Baganda culture, this path breaking volume bridges the gaps in previous scholarship that integrates music and dance in ethnomusicological scholarship. Cover Current Research in Ethnomusicology Title Page Copyright Page Dedication Table of Contents List of Plates and Figures Note on Orthography Preface and Acknowledgements About the Author Chapter One Introduction Chapter Two Ethnography of Baakisimba Chapter Three Conceptualization of Baakisimba Music and Dance Chapter Four Palace Baakisimba Chapter Five Village Baakisimba Chapter Six Baakisimba in the Catholic Church Chapter Seven School Baakisimba Chapter Eight Baakisimba and Homosexuality among the Baganda Chapter Nine Recapitulation Notes Appendix One Glossary Appendix Two Dynastic Chronology of Buganda Kings Appendix Three Invitation to Kabaka Ronald Muwenda Mutebi II's Seventh Coronation Anniversary Appendix Four Events Attended Appendix Five A Formal Interviews Conducted Appendix Five B Personal Communications Appendix Six Permission Letter to Bazannya n'Engo Cultural Group Discography and Bibliography Index