Luganda, the native language of the people of Buganda, developed over the centuries as a spoken language. Its written form is only as recent as the arrival of the Arab and European influence among the Baganda. It is not easy, and of course it is not within the scope of this discussion, to trace its origins, but it is proper to assume that in a dynamic society with such well structured cultural, social, and political institutions like those of the Baganda, the language must have experienced a reciprocal influence during most of the changes the society went through over the course of its history. It was not however, until after the second half of the nineteenth century, that Luganda was first written down and appeared in print in its own right.

The following discussion is neither meant to be a grammar nor a dictionary of the language. The focus is solely on how the language is written (i.e. transcribing sound into alphabetic characters). The first writing clearly was a pilot venture, an improvisation by the early missionaries, who tried to put the language in a written form so that their work among the Baganda would be made easier. The creation of written Luganda words mainly depended on the interpretation and impression that the ears of these foreign listeners, had of the Luganda word sounds. It was not surprising that Speke spelt Kyabaggu (Chabagu). Looking at the earlier prints by various writers such as Speke, Stanley and others would confirm the suspicion that each wrote according to the interpretation his ears perceived. It was therefore necessary to undertake a serious study of the sounds in the Luganda language in order to be able to formulate a proper phonetic system that would help in transferring the sound of words into proper alphabetical symbols that would be meaningful in written form.

The first writers however, were faced with a problem since many of them were not linguists and the Luganda language was starkly different, without any linguistic similarity with their mother tongues. It became an academic adventure for them, trying to correlate the linguistic features of their native languages with the sounds they were simply detecting in the Luganda words. These efforts were necessary because the task of imparting the Christian norms and social standards of their home base to the Baganda demanded a system of communication in a medium that was natural and easily understandable in Buganda. A system of writing in vernacular was therefore developed and for the first time the Luganda word sounds were represented in alphabetical symbols. 

The Culture of the Baganda

Buganda’s clan system is central to its culture. A clan represents a group of people who can trace their lineage to a common ancestor in some distant past. In the customs of Buganda, lineage is passed down along patrilineal lines. The clan essentially forms a large extended family and all members of a given clan regard each other as brothers and sisters regardless of how far removed from one another in terms of actual blood ties. The Baganda took great care to trace their ancestry through this clan structure. A formal introduction of a muganda includes his own names, the names of his father and paternal grandfather, as well as a description of the family’s lineage within the clan that it belongs to. The clan has a hierarchical structure with the clan leader at the top (owakasolya), followed by successive subdivisions called the ssiga, mutuba, lunyiriri and finally at the bottom the individual family unit (enju). Every Muganda was required to know where he falls within each of these subdivisions and anyone who could not relate his ancestry fully was suspect of not being a true Muganda.

After the coronation of Kabaka Mutebi II in 1993, a survey of the clans was carried out to establish definitively the number of clans, corresponding clan heads, and all other positions of authority within each clan. The following list shows 46 clans which are officially recognised by His Majesty’s government as constituting the clans of Buganda, as of August 1996. Oral history has always maintained that there are 52 clans in Buganda. This anomaly may be because some clans have not been able to establish their claims legitimately, or possibly that some clans may have died out, with no heirs to carry on the clan heritage.

It is a curious fact that the clans are not known by the names of the respective clan founders. Instead, totems were adopted by the clans, and the names of those totems came to be synonymous with the clans themselves. Each clan has a main totem (omuziro) and a secondary totem (akabbiro). The clans are usually known by the main totem and they are listed above by that totem. The royal clan (Abalangira) is a unique exception in that it has no totems whatsoever. For a proper understanding of the culture however, it is important to distinguish between the totem and the clan. The clan is a matter of genealogy and it is through the clan that the baganda trace their ancestry. A totem on the other hand, is just a symbol to represent the clan. Although the two are intimately associated with one another, they are in fact different. In the west, a totem would be similar to a court of arms.

Kiganda Traditional Dance

Baganda people (tribe) of Buganda region, a dominant Bantu speaking ethnic group concetrated in central Uganda.The baganda are made up of different clans with distinct totems that classify Baganda into different groups but with the same social cultures.
Baganda’s bakisimba dancesTravellers that have had a safari or a tour to Uganda have been mesmerized by music of the people of Buganda region. The Baganda bost of a veriety of dances originating from individual clans based on different themes such as; economic and social activities, politics, education, love and their history depending on the audience for whom the performance is made.

The baganda, like other tribes use music to praise and worship God or gods as well as people of authority, to celebrate their life cycle-rituals and rites, celebrate labor or work achievements such as a good harvest,to educate the population,to earn a leaving( as employment) ,as a form of recreation,as well as a cultural means of disseminating cultural values from generation to generation.

Baganda’s muwogla danceBaganda have three predominant dances; Bakisimba, Muwogola and Nankasa all inspired by their daily life.All kiganda dances involve a flawless ‘circular’ movement of the waist and a tip toeing movement of the feet plus hands spread out from the shoulder joint but bent forward or up words at the elbow joint depending on the type of dance. The dance moves or patterns are dictated by the lyrics or song meaning but mostly by the tempo of the song.

If one took a Uganda safari,they would definitely love the traditional Baganda dance’s costumes that are universally used for all their dances.The female dancers put on tops that cove their shoulders,cover the midriff with a white or cream silk material that accentuates the body undulations, a wide floor-length kikoyi that allows free leg movements to all directions,a raffia skirt around the back plus a sash around the waist line that gives a clear finish to the raffia skirt.At the backside, a dance animal skin is added on top of the raffia skirt and sash and ankle bells are worn too.Modern dancers today add decorative bracelets and head bands to this costume.
Male dancers wear the kikoyi too that covers only to the mid calf to allow their rather vigorous dance moves and the public acceptability to have much of their bodies bare.

The Baganda have a variety of dance instruments but majorly drums of different sizes; the Empunyi (rhythm drums for the central beat), Namunjoloba (a small drum beaten by two small sticks to produce the rhytmic sound that controls all dance motifs or flows), the Embuutu (a large drum for the various dance rhytms), Engalabi (a long cylindrical drum that adds colour and texture to accompaniment), Amadinda (a xylophone to give the music melodies), Endigidi (a tube fiddle for melody),
Entongoli (bow lyre for melody), Engombe (a cow horn that adds excitement at the climax), Endere (flute), Ensaasi (shakers made out of a guoards) plus singers- soloist and choristers.The xylophone determine the tempo or pace of the music or song and the drums follow suit.

The baganda have ‘Amagunju ‘a royal dance whose origin and essence has attachment to;

Baganda’s Amagunju dance

i. A ritual dance formulated to entertain the newly enthroned King (Kabaka) and prevent him from crying as he presided over the Lukiiko (parliament)

ii. The dance having been created by the uncle to the king -Gunju from the Obutiko (Mushroom) clan hence the name of the dance.
iii. The dance having been danced by only by the people of the Mushroom clan.
iv. The fact that Uncle Gunju designed a royal seat that placed the kabaka above every body else –Namulondo which has been in existence for over 200 years up to date. It is a symbol of authority of the Kabaka (King) as he is the only to sit in it.

Dancers use the same instruments and costumes, as male dancers take energetic high side by side kicks staggering as if they are drunk, all to entertain the king.Songs to this dance all relate to the Mushroom clan.The male dancers dominate the Amagunju dance as they make their side by side- kicks said to have also been used t pave way for the Kabaka as he moved to the parliament.The female dancers are how ever graceful and gentle making sedate and low body movements,the lower body movements are same as those of the Bakisimba dance but they change their dance motifs according the songs of the dance.

In the ‘nalintema’ song for example, dancers imitate swinging a sickle to clear the garden for planting well as in another song, they bend over double to pick mushrooms.Now days, this dance takes place at the royal courts, danced by all people unlike before when it was danced by only those of the Mushroom clan at different celebrations.This dance is still danced for the Kabaka when he leaves his palace and a Uganda tour to the Kabaka’s (King’s) palace wil provide a great opportunity for one to see these performances live.