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Baakisimba: Music, dance, and gender...

Nannyonga-Tamusuza, Sylvia Antonia.

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Baakisimba: Music, dance, and gender of the Baganda people of Uganda.

紀錄類型:	書目-語言資料,印刷品 : Monograph/item
正題名/作者:	Baakisimba: Music, dance, and gender of the Baganda people of Uganda./
作者:	Nannyonga-Tamusuza, Sylvia Antonia.
面頁冊數:	338 p.
附註:	Adviser: Andrew N. Weintraub.
Contained By:	Dissertation Abstracts International62-09A.
標題:	Anthropology, Cultural. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3026068
ISBN:	0493377123

Baakisimba: Music, dance, and gender of the Baganda people of Uganda.
Nannyonga-Tamusuza, Sylvia Antonia.

Baakisimba: Music, dance, and gender of the Baganda people of Uganda. - 338 p.

Adviser: Andrew N. Weintraub.

Thesis (Ph.D.)--University of Pittsburgh, 2001.

In this dissertation I examine the ways in which baakisimba—a set of drums, a music genre and dance type accompanied by this music—articulates with gender among the Baganda people of Buganda in southern Uganda. Using Stuart Hall's theory of articulation, I argue that there is a dialectical relationship between baakisimba and gender. While baakisimba participates in the definition and negotiation of gender relations, identities, and roles among the Baganda, gender shapes and restructures baakisimba. The shapes of the drums, drum sounds, dance movements, costumes, and the interaction of drummers, dancers, and the audience during baakisimba performances crystallize gender constructions among the Baganda. However, baakisimba performance practice is historically contingent on cultural, social, and political structures that have shaped Buganda, a context in which gender has been continually resignified. The historical construction of gender in Buganda presents a concurrent dual definition contingent on the existence of two domains: <italic>olubiri</italic> (palace), the “private” domain, reserved for the royalty; and <italic> ebweru w'olubiri</italic> (outside the palace), the “public” domain, for the <italic>bakopi</italic> (commoners).

ISBN: 0493377123Subjects--Topical Terms:

735016
Anthropology, Cultural.

Baakisimba: Music, dance, and gender of the Baganda people of Uganda.
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100 1 $a Nannyonga-Tamusuza, Sylvia Antonia. $3 1254941
245 1 0 $a Baakisimba: Music, dance, and gender of the Baganda people of Uganda.
300 $a 338 p.
500 $a Adviser: Andrew N. Weintraub.
500 $a Source: Dissertation Abstracts International, Volume: 62-09, Section: A, page: 2924.
502 $a Thesis (Ph.D.)--University of Pittsburgh, 2001.
520 $a In this dissertation I examine the ways in which baakisimba—a set of drums, a music genre and dance type accompanied by this music—articulates with gender among the Baganda people of Buganda in southern Uganda. Using Stuart Hall's theory of articulation, I argue that there is a dialectical relationship between baakisimba and gender. While baakisimba participates in the definition and negotiation of gender relations, identities, and roles among the Baganda, gender shapes and restructures baakisimba. The shapes of the drums, drum sounds, dance movements, costumes, and the interaction of drummers, dancers, and the audience during baakisimba performances crystallize gender constructions among the Baganda. However, baakisimba performance practice is historically contingent on cultural, social, and political structures that have shaped Buganda, a context in which gender has been continually resignified. The historical construction of gender in Buganda presents a concurrent dual definition contingent on the existence of two domains: <italic>olubiri</italic> (palace), the “private” domain, reserved for the royalty; and <italic> ebweru w'olubiri</italic> (outside the palace), the “public” domain, for the <italic>bakopi</italic> (commoners).
520 $a In Buganda, like many African cultures, roles in music and dance performance have long been assigned based on the performers being “men” or “women.” Men have controlled the drumming and women have been the dancers. However, in the mid-nineteenth century, men began dancing in the palace and since the 1940s they have performed the dance outside the palace. Since the 1960s, men lost control over women's access to the drum and women began “beating” the drum.
520 $a This dissertation interrogates why men have traditionally been the drummers and women the dancers in baakisimba performance. What accounts for the shifts in these gendered performance roles and how do they articulate with gender construction among the Baganda? My study has revealed that baakisimba is a site for struggles over power. The Baganda believe that power is inherent in the drum and, therefore men must control it. Women's dancing is associated with their sexual objectification. However, men dance either for economic reasons or as a way to negotiate their homosexual identities. Baakisimba is a “stage” where gendered relations, identities, and roles are performed.
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