The tradition of amadinda music goes back to pre-colonial times in the kingdom of Buganda in Uganda. Beginning in the 14th century, melodies and texts were passed down through the generations that used a unique combination of musical and spoken idioms and reflected everyday events.

Music featuring the wooden amadinda xylophone played an important role at the court of 19th century King Muteesa I. The king was even a passionate xylophone player himself. The name of the instrument derives from "ama," meaning large, and "dinda," which means mood.

Dialogue with the ancestors

The Buganda court composers set out to give their creativity free reign as they created their music. They would meditate for hours while composing music on the arched "ennanga" harp. The harpist played the combination of his tone series as if in dialogue with the voices of the spirits and the ancestors. Even today, certain songs are aimed at invoking ancestral spirits in order to ask them for help and advice for the living.

At court, only those who were masters on the arched harp were allowed to play for the king's daughter.

In danger of disappearing

There are very few musicians today who can still play in this unique courtly tradition. In fact, it is on the verge of disappearing completely, said Albert Bisaso Ssempeke, who heads an amadinda music ensemble. His father devoted his whole life to the musical tradition. Today, only ten musicians in Ssempeke’s extended family have mastered their country's traditional music.

Maintaining that those traditions by teaching young people and presenting amadinda to the world is one of Ssempeke's biggest goals. The Ssempeke Amadinda Quartet was born at the Ndere Center in Kampala, a focal meeting point for artists from all over the country. Their music enlivens the court in Buganda and is enhanced today by other local styles from around Lake Victoria and from northern and western Uganda.

Author: Birgit Kannen (db)