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.
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