MAKERERE UNIVERSITY

COLLEGE OF ENGINEERING, DESIGN, ART AND TECHNOLOGY

MARGARET TROWEL, SCHOOL INDUSTRIAL AND FINE ART

INVESTIGATING THE GANDA DRUM MAKING PROCESS THROUGH

PHOTOGRAPHY

(A CASE STUDY ON DRUM MAKERS IN MPAMBIRE-MPIGI DISTRICT)

BY

MUSENZE STEVEN

18/U/22570/PS

SUPERVISOR;

MR. MUWONGE KYAZZE

ARESEARCH DRAFT REPORT SUBMITTED IN PARTIAL FULLFILLLMENT OF

THE REQUIREMENTS FOR THE AWARD OF DEGREEOF THE BACHELORS OF
INDUSTRIAL AND FINE ARTS OF MAKERERE UNIVERSITY

NOVEMBER 2019
 DECLARATION
I hereby declare that the report is purely my own findings and observations during the period
of research. This report has been never submitted to any institution for education award.

Any one intending to use this report for any reference shall first get permission from
authority.

Sign………………………….... Date..................................
MUSENZE STEVEN
(REG. NO: 18/U/22570/PS)
 APPROVAL
This report entitled investigation of the Ganda drum making process through photography, a
case study of drum makers in Mpambire-Mpigi district has been under my supervision. It is
now ready for submission.

Sign: ................................... Date: ............…...........................….....

Mr. MUWONGE KYAZZE
(SUPERVISOR)
 DEDICATION

I dedicate this report to my mother Namubiru Juliet, My father Ssozi Benedicto, Nalumansi
Oliver, Nantaba Ritah Leticia, and Nakandi Assumpta and to the whole continent of Africa.
 ACKNOWLEDGEMENT
This dissertation has been a result of many people’s effort and although I cannot

mention all of them, I highly appreciate their contribution. In a special note, I convey my
heartfelt gratitude to my supervisor Mr. Muwonge Kyazze the senior lecturer sculpture
fabrication at Margaret Trowell School of industrial and fine art Makerere University for his
tireless effort.

Some of my classmates at Margaret Trowell School of industrial and fine art Makerere
University also deserve special mentioning in this dissertation. Kawesa Alvin Martin,
Nambeya Gloria, Namwanga phionah, Hama Abaho and Mwebaze Reagan were all very
supportive during my research. To my other colleagues, SSegujja John, Nantaba Madrine and
Ntambi Derrick in the drum shops in the field.

In a special way, I thank my uncle teacher Musoke John for his financial assistance.

I also thank my parents Ssozi Benedicto and Namubiru Juliet for the care, love and
encouragement. Although they didn’t have enough money and had not reached my level in
education, they spared the little money they had to educate me.

Further, I thank my informants for allowing me conduct a study in their drum shops.

Indeed, if they had not shared with me their experiences about the Ganda drum making
process, this report would have been next to impossible.
 ABSTRACT
This study is mainly based on basketry as an activity to empower the disabled people in
Kampala district chapter one is mainly based on the introduction back ground the
statement of the problem, the objectives of the study, and the purpose among others as with
this act as basis or a foundation upon which the study starts

The second chapter mainly deals with the literature review as with this chapter emphasis was
mainly based on information or what others may have written on how drums are represented
in different countries worldwide.

The third chapter mainly on the methodology as here basis was on the means on how the
information was to be mainly the qualitative and quantitative means of data collection among
others and acted as a basis for findings and data presentation in chapter four.

The fourth chapter mainly presents the findings got from the field as data was presented in
accordance with the objectives.

The fifth chapter presents the recommendation Based on the findings from the field.
 TABLE OF CONTENTS

DECLARATION.......................................................................................................................................... i
APPROVAL ................................................................................................................................................. i
DEDICATION .......................................................................................................................................... ii
ACKNOWLEDGEMENT ....................................................................................................................... iii
ABSTRACT ............................................................................................................................................. iv
CHAPTER ONE ......................................................................................................................................... 1
INTRODUCTION....................................................................................................................................... 1
1.1 Background ......................................................................................................................................... 1
1.2 The statement of the problem.............................................................................................................. 2
1.3 Purpose................................................................................................................................................ 2
1.4 Objectives. .......................................................................................................................................... 3
1.5 Research Questions. ............................................................................................................................ 3
1.6 Scope of the Study. ............................................................................................................................. 3
1.7 Justification. ........................................................................................................................................ 3
CHAPTER TWO ........................................................................................................................................ 4
LITERATURE REVIEW .......................................................................................................................... 4
2.2 Drums on music .................................................................................................................................. 4
2.3 Drums with religion ............................................................................................................................ 5
2.4 Drums on African culture ................................................................................................................... 6
2.4.1 The Breasted drum”, Ashanti in Ghana ........................................................................................... 6
4.2 Split Drums and Ivory horns, Mangbetu tribe .................................................................................... 7
4.3 Two-headed drum of Chamba, Nigeria ............................................................................................... 7
4.4 Tonga drum, Zimbabwe ...................................................................................................................... 8
4.5 Shangaan drummers, Zimbabwe ......................................................................................................... 8
4.6 Yangere slit drum. Wood, Central African Republic .......................................................................... 8
4.7 Venda ngoma drum ............................................................................................................................. 9
4.8 Mongo drum, 121 cm high, Upper and lower part carved in steps ..................................................... 9
4.9 Drums exist in a modern context in Africa in 3 major ways .............................................................. 9
4.10 Tin can drums ................................................................................................................................. 10
4.11 Native American hand drums ......................................................................................................... 10
4.12 Drums in Buganda kingdom ........................................................................................................... 10
4.13 The drum as a means of communication ........................................................................................ 11
4.14 The drum and spirituality ................................................................................................................ 12
CHAPTER THREE .................................................................................................................................. 17
RESEARCH METHODOLOGY ............................................................................................................ 17
3.0 Research design ................................................................................................................................ 17
3.1 Area of study ..................................................................................................................................... 17
3.2 Data sampling technique ................................................................................................................... 17
3.3 Research instruments ........................................................................................................................ 17
3.4 Data collection methods; ................................................................................................................... 17
3.4.0 Interviews ....................................................................................................................................... 17
3.4.1 Observations .................................................................................................................................. 18
3.5 Data analysis ..................................................................................................................................... 18
3.9.1 Data presentation ........................................................................................................................... 18
3.6 Ethnical consideration ....................................................................................................................... 18
3.7 Photography ...................................................................................................................................... 18
3.8 Participant observation...................................................................................................................... 18
3.9 Personal Experience .......................................................................................................................... 18
3.10 Editing ............................................................................................................................................. 19
CHAPTER FOUR ..................................................................................................................................... 21
CONTEXTS OF DRUM SHAPING AND TOOLS USED ................................................................... 21
4.1 Preparing a trunk into a drum shape ................................................................................................. 21
Fig.1 Bamulondeko Crowther and Kasule Yasin making holes in the well shaped tree trunks ............. 22
Fig.2 Types of drum shape ..................................................................................................................... 22
Fig.3 Smearing cow danger on the drum shape. ..................................................................................... 23
Fig 4 Hides in the direct sunshine ........................................................................................................... 23
4.2 Inside the drum/dressing the drum ................................................................................................... 24
Fig.6 Dressing the drum .......................................................................................................................... 25
Fig.7 dressing the drum........................................................................................................................... 25
Fig.8 Drying the dressed drum............................................................................................................... 26
Fig.8 Cutting strings out of the hide. ...................................................................................................... 26
Fig.9 Tuning the drum. ........................................................................................................................... 27
Fig.10 Drumming at Masaza cup ............................................................................................................ 27
CHAPTER FIVE ...................................................................................................................................... 29
SUMMARY CONCLUSIONS AND RECOMMENDATIONS ............................................................ 29
5.1 Summary ........................................................................................................................................... 29
5.2 Conclusions ....................................................................................................................................... 29
 5.3 Recommendations ............................................................................................................................. 29
REFERENCE ............................................................................................................................................ 29
APPENDIX 2 .......................................................................................................................................... 31
Research Interview Guide ....................................................................................................................... 31
INTERVIEW GUIDE ............................................................................................................................... 31

CHAPTER ONE
INTRODUCTION
1.1 Background
Mpambire is a village located in mpigi district just on masaka highway, 25km/ 40miles from
Kampala. This village has got 2500 residents both men and women, the name Mpambire
started with the group of people who were pastoralists from Ankole and there Luganda ascent
was not clear.

Since they had no places for settlement they used to grab land on this village, when one asked
them why they haven't continued with their movement they could just say,"nzempambire
want" a Luganda word which meant capturing a stain area.

Other old aged people on the village say that during the 1930s, this village was mostly
dominated by the "FUMBE" clan and there lived a clan coordinator mostly called the
"omwami" who was known by the name Ssebwalunyo and he was in charge of approving the
"FUMBE" children that were born in this village and giving them names accordingly, if the
baby that was taken to Ssebwalunyo didn't belong to the FUMBE clan the baby could die
there and then, here the group of women who were not sure if the baby was of the FUMBE
clan they won't reach to ssebwalunyo's place, they had stay on way just near to the village
also saying the same words"Mpambiddewano".Karungi R. the chairman LC1 says.

The drum making process started in the 1950s by the man called Ventino Muleega who
migrated from masaka were transport was a problem to reach the market where he was
selling his finished drums. Then he was joined by other people for example Mukwaya Paul
who eventually started up a drum shop called sikyomu drum makers on mpambire village in
1980s hence making drum making the main activity on this village.
This village is known for making Royal drums for the kingdom of Buganda. In 1980s, the
village had only one drum shop, but today there are 21 drum shops at mpambire village

1.2 The statement of the problem

In Uganda, Africa, and in the entire world, the process of making “Ganda” drums is unknown
and that’s why, as an artist and a photography student from Margaret Trowel School of
industrial and fine arts in Makerere University born and raised from Mpigi district in the
village called Mpambire, Masaka highway.

This village is well known for its drum making activity worldwide drum making is an
economic activity that most of the people do to earn a living and also to fulfill their needs.
Most of the tourists that happen to come to Uganda, they can’t go back to their countries
without visiting Mpambire drum maker’s shops, not just because they are interested in buying
drums but seeing how they are made. And perhaps tourists, even the people in Uganda don’t
know how drums are made.

In the Ugandan culture the drum play a big role both for rituals and celebrations, not only in
the Buganda kingdom but also other kingdoms such as the Ankole, Bagisu, and others. In
conclusion, Mpambire village is the best place for visitors to make stopovers while on safari
to southwestern Uganda. This village comes with distinct experiences ranging from just
viewing the handmade crafts to purchasing some of the souvenirs for remembrance of the
Uganda safari.

A variety on the drum making process has been not been documented with the refers of
photographs hence need for this research which will analyze the process of drum making and
the importance of each type of drum.

1.3 Purpose.
It will aim at the process how the Ganda drums are made, and to make people know the
hidden proofs behind drum making process at Mpambire where drums processed.
1.4 Objectives.
To make photography a visual tool in the process of making drums
To know the hidden facts on drum making
To make the drum making process known by every in Uganda and even in the all world
To show creativity in African art and how it is achieved

1.5 Research Questions.

Where to get the wood for making drums and the best trees species for the process and which
type of drum?
How to make a hole in the wood for the drum?
How the drum strings are made?
Where do you get animal hides?

1.6 Scope of the Study.

The study will cover Mpambire drum makers to enable first hand information In the process
of making drums since it’s the Centre of drum makers. The researcher will work with
children and the youth who engage the selves in the drum making process.

1.7 Justification.
The study and its finding will give paramount relevance the all Ugandan and the whole world
at large.
The study will promote visual observations to the artists since the process will referenced by
photographs
The study will also help people become conscious of the drums to buy and for which
purpose.
The study will make people know the type of trees that are used to make drums and where to
get them.
The study will make the unknown be known by the whole world (the process of making
drums)
 CHAPTER TWO
LITERATURE REVIEW

This research draft research is about the process of drum making and this review has been
carried out using different resources including books related on the topic both published and
unpublished, newspapers, journals, magazines, one to one conversations with the people that
make drums, the internet, scholarly writings found both hard and soft copy.

2.2 Drums on music

“African societies, since time immemorial, have always been moved by the sound of the
drum. Communication and celebration with percussions were norms within our numerous
cultural contexts. Drums in African traditional societies were sources of identity that
distinguished various social groupings.
Within these different contexts, a certain language was created that gave credence to a
society’s place in the world.”

The instrumentation styles of the two cultures that give rise to drum practice and pop music
are very different, traditional instruments versus studio equipment. The only exception is in
forms like Tadongokamu, a distinct Ugandan musical style, which has a definite traditional
influence in arrangement and musical flow.

Other songs that fit the pop music mood do not show drum influence anywhere.
Songs to refer to would be Kamungolo by Bebe Cool and Annette Nandujja, Batuyise
Embuga by Lord Fred Sebatta, old albums by St. Balikuddembe Mitala Maria, Loketo Lee’s
rendition of Angelina (Acholi folk song), Mesach Semakula’s Njagala Nyimbire
Omutanda versus the original folk divination song (Namalere akoona ekkondere) and
Baligidde’s Agawalagana mu Lukoola.

Last but not least, hybridization bears some similarities with fusion, although the term relates
to the usage of the drums as opposed to the form/performance. There is hybridization,
especially in the Luganda gospel music field, of drum music and pop styles (Betty
Namaganda, KagomakaYesu).
Fusion shows of pop and drum practice (Percussion Discussion Africa, Janzi Band, Furaha
Band, Kika Troupe, Mibnzizi Ensemble’s Sunday shows, SosolyeUndugu Dance Academy’s
Sunday shows) are illustrations of the influence of the drum and the shift in the way it is
used.
The influence of ancient drum practices on contemporary music. Lutaaya B. (2013)
http://startjournal.org/2013/13/03/the-influence-of-ancient-drum-practice-on-contemporary-
music/

2.3 Drums with religion

Drums are instruments that produce sound through the striking, rubbing, or plucking of
stretched membranes. The religious use of drums is historically and geographically extensive,
but by no means universal. They are conspicuously lacking in many Christian and Islamic
liturgical traditions, as well as in various African religions. Their absence from the oldest
forms of religious music of such well-known hunter-gatherers as the African Pygmies and
San (Bushmen), the Australian Aborigines, the Vaddas of Sri Lanka, and others suggests that
drums are not particularly archaic or "primitive" but rather are associated with the later
cultural systems of sedentary agriculture and urban civilization. They are important in both
local traditions and in the "great" intercultural, literate religious traditions.

Drums have relatively low value in Middle Eastern and European religious traditions,
somewhat more in East Asia, Oceania, and Native America, and high value and variety of
uses in South Asian, African, and Inner Asian and circumpolar shamanistic traditions. Where
drums are used, they may have considerable symbolic or ritual value: describes how, when
Christian missionaries burned the drums of Sami (Lapp) shamans, the Sami protested that the
drums were their compasses; how could they find their way in the world without them?
Manker E. (1968).

Drums belong to the organ logical class membranophones, instruments that produce sound by
means of a stretched flexible membrane (skin, plastic, etc.). Instruments shaped or played like
drums, but lacking membranes—the "slit-drums" or "log drums" of many tropical areas, the
"bronze drums" of Southeast Asia, the "steel drums" of Trinidad, and so forth, are idiophones
or solid instruments. Other mislabels, such as "tambourine" (correct only for frame drums
with jingles) or "tom-tom" (corruption of a Sinhala/Tamil name for paired kettledrums), often
have been indiscriminately applied by Westerners to non-Western drums in much the same
way as labels like "witchcraft" and "vodou" have been widely and derogatorily applied to
non-Western religions.

Drums are described by number of membrane heads (one to five), by material composition
(wood, earth/clay, metal, bone, etc.), by shape of body (shallow frame, round-bottomed
kettle, straight-sided cylindrical, bulging barrel, narrow-waisted hourglass, etc.), and by
playing technique (hands, sticks, suspended clappers), decorations, and other physical
features. Although such features are the basis of scientifically accurate descriptions, religious
traditions themselves often categorize and evaluate drums in terms of less tangible but
religiously more significant factors.

In ancient times, drums held a very revered place in society, however, with the coming of the
European missionaries with Christianity, there was a systematic stigmatization of the
Ugandan drum, and many started to associate them with ‘pagan’ practice and witchcraft.
Now they are back in church, and “acceptance” of their use is widespread. This is especially
ironic considering that missionaries destroyed Father Kabuye’s (Kabuye SSemboga) drums at
his first concert in Jinja in the early 1960’s deeming them satanic.

2.4 Drums on African culture

2.4.1 The Breasted drum”, Ashanti in Ghana
Traditionally, the drum was the heartbeat, the soul of most African communities. Drums have
been an intrinsic part of African life for centuries and for countless generations, an ancient
instrument used to celebrate all the aspects of life.

In Western culture drumming is, most often, about entertainment. In Africa, drums hold a
deeper, symbolic and historical significance. They herald political and social events attending
ceremonies of birth, death and marriage. They spark courtships, they herald home-coming
and going and they accompany religious rites and rituals, calling up ancestral spirits.

They are used as an alarm or a call to arms stirring up emotions for battle and war. They can
also inspire passion and excitement and even cause trances, a momentary loss of
consciousness to either the drummer or the listener. They symbolize and protect royalty and
are often housed in sacred dwellings. They are protected during battle.

On the other side, drums are about communication and making music, two essential
characteristics of community life. For centuries the ‘talking drums’ were a primary source of
communication between tribes used to transmit messages sometimes across great distances
. Antoinette, Ghanaian African Drummer, interviewed by author (2003)

4.2 Split Drums and Ivory horns, Mangbetu tribe

African music is a total art form closely integrated with dance, gesture and dramatization.
Drums are the music instrument that African music relies heavily upon to create the fast-
paced, upbeat, rhythmic beat that signifies most African music.

The drums can be both musical instruments and works of art, sculptural forms that are often
decorated in a resplendent manner suited to their ceremonial function. They can also be
everyday objects with simple but monumental form.
Technically most drums are described as "membranophones” and consist of a skin or
drumhead stretched over the open end of a frame or ‘shell’. The shell is, most often,
constructed from wood.

4.3 Two-headed drum of Chamba, Nigeria

The sound is generated by striking the drumhead with hands, a stick, a rubber mallet or even
the bones of the deceased. The surface can also be rubbed to create soft swishing sounds.
Sometimes the drums can have rattling metal jingles attached to the outside or seeds and
beads placed inside to create extra kinds of noises.
They can be made from wood, metal, earthenware or gourds.
Their form can be tubular, hourglass, and circular or bowl, kettle, goblet or barrel shaped.
They can be round, square, hexagonal, octagonal or placed within a frame.
4.4 Tonga drum, Zimbabwe
‘Open drums’ are single-headed with an opening at one end and ‘closed drums’ are single or
double-headed with no open end.
In size they can be tall or diminutive 80cm. In general, the bigger the drum the lower the note
and the more tension in the head, the higher the note Wide drums adds the bass sounds.
4.5 Shangaan drummers, Zimbabwe
They can have handles or straps and be held under the armpits. They can be rested on a
wooden support and they can have feet or pedestals standing on their own, being carried on
backs or held between or on the knees. They can be played singly, or in pairs, or be part of a
large group drum ensemble with graded tones and pitches. ‘Drum chimes’ are mounted in a
frame, tuned to a scale and played by a team.

4.6 Yangere slit drum. Wood, Central African Republic

“Idiophones” refer to the Udu, log or slit drums which create sound not by beating or rubbing
but by the instrument vibrating having been struck, shaken or scraped.

The membrane of the drum is most often constructed from the skin of an antelope, goat,
sheep or cow and less frequently from zebra, wildebeest or reptiles like crocodiles and
monitor lizards. The skin is dried out in the sun and the hair shaved. It is then stretched over
the hollowed out, preferably hardwood, drum base.

The skin is tightened with leather straps and nailed or pegged on. Resin on the membrane will
control tone and a good drummer will treat the surface with beeswax before a performance,
holding the drumhead over an open fire to stretch the skin.

The drum decorations in Africa as it started in “The journal the facts on African drums”
Drums can be both musical instruments and sculptures. Images can reference proverbs,
cultural traditions and ways of behaving, reflect values that are important to communities.
They can feature anthropomorphic images like feet, hands, female breasts, and human heads
as well as full or squatting figures that carry the drum on their backs. These motifs can be
symbolic, carrying great spiritual meaning or they can just be decorative and tell a story.
Female imagery is often used to evoke fertility.

4.7 Venda ngoma drum

Beautifully carved, large, Ngoma drum from Venda, Limpopo; used for ceremonial purposes
Animals and reptiles lend a wide scope of reference material for zoomorphic relief carvings.
They play an important role in belief systems and ancestor spirits can take the form of any
animal providing inspiration for the carvers.
Ceremonial drums will have designs that reflect their status and their historical value; the
careful execution of the carving and consideration for the imagery used fosters both prestige
and belief in the tribal subjects.
The Mongo people of Central Africa use geometric shapes and forms to create visually
stunning drums.

4.8 Mongo drum, 121 cm high, Upper and lower part carved in steps
Drums are treasured assets of any African community; their vibrant and rhythmic sounds
stirring up emotions and helping to carry on noble traditions, inspiring new generations to
keep a sense of belonging, discovery and pride.

4.9 Drums exist in a modern context in Africa in 3 major ways

They are still used in the traditional manner for celebrating ceremonial events, rituals and
spiritual healing - a rhythmical representation of each happening in the cultural life of a
village or community.

They are often employed as tourist attractions in many African countries, promoting and
exhibiting African heritage and culture. They can be part of exciting extravaganzas featuring
costumes, music, dance and poetry. They can take any shape and form as long as they emit
the required sound! See photo below of drums used in a Shangaan festival in Zimbabwe:

4.10 Tin can drums

Drums made from tin cans, with interlaced skin membranes, Shangaan, Zimbabwe
They are also part of social enterprises that uplift and empower local communities. By
connecting the traditions to the modern market, the old ways are kept alive and relevant.

4.11 Native American hand drums

“Part of me would like to think that describing a manual for learning a valuable traditional
skill through the lens of one of that ultra-for-western-audience another part of me feels the
need to explain it because iam genuinely concerned my enormous readership won’t get the
irony”. Broussard J. (2017)
4.12 Drums in Buganda kingdom
In the Kingdom Buganda, the clans form the basis thereof. Every single clan has its name and
its own geographical location, which is designated as clan headquarter. The form of a clan
identity is identified by a mubala (drumbeat), has its own drum rhythm, which is unique in
regard to other ones. Please find transcribed that of the Lugave clan (pangolin monkey):
The rhythm verbalizes this Ganda text, which is used in drum “ettuttu lifumita likyalitto
bwelikula lisoggola mwenge” (the spear – a still very young blade of grass, still growing)
when producing the local Ganda brewing (beer).

Clan rhythms are rather diverse. On the one side, they show the clan’s identity, and on the
other one, they have a meaning that is inseparably associated with a certain clan. Depending
on the clan, drum rhythms ask the members of the clan to start working, to conserve nature,
to give mutual respect, to maintain moral standards, to save the environment, to marry and to
take care of the family and to beget children. For example, the above transcribed drum
rhythm asks the male and female members of the Lugave clan (pangolin monkey) to marry
and to have children, while still able to reproduce; as this constitutes one way the clan and the
realm are based upon and may be strengthened with.

The kingdom of Buganda comprises 52 clans and each has its own totem – among others:
Kinyomo clan, Nkusu clan (parrot) and Mbogo clan (buffalo)
4.13 The drum as a means of communication
The drum is also used as an instrument for mobilizing the community in the course of
worshipping (ritual ceremonies), healings and dances; it communicates information in a
remote way. While TV or also radio are predominantly a means of entertainment, which,
however, is still not accessible to many rural communities, here the drum is still of greatest
importance. TV and radio are expensive and dependent on electrical power. The media sector
is still privately owned, focused intently on turnover. It is not possible to offer this service to
a poor rural population “free of charge”. The information that is communicated by these
media does not have an inter-action between that presented and the people, who are then
simply reduced to being consumers. Communities without access to radio, TV or other means
of telecommunication (mobile communication network) still need the drum as a medium of
communication.
Using drum rhythms like “ssaagala agalamidde” (everybody is to get up) or “bulungibwansi”
(cleaning of streets and wells) the inhabitants are asked to do so or participate by means of
the drum. Leading a community sounds like: “ssaagala agalamidde”, which are beaten at
various points in the neighborhood, in the neighboring village and preferably at a cross-
section.

Due to the above description, the drum does not decrease in its importance as a means of
accompaniment of social and collective responsibility. The drum transforms signals and
transfers information within a society.

Events may be communicated by means of the drum within a society or community in the
case of insecurity, crimes, death, accidents, etc. In such cases, the tragic events may be
communicated by members of a community therein by way of drum beating. In this way, it is
possible to call for support or help of any kind. This communal cohesion within the
community is represented by “ffemwe, mweffe” (they are us and we are them), the obligation
of every single member of a community to provide help if there is danger to members.”
Ggwangamujje” (come to my / our rescue) is the content of this drum rhythm, there is,
however, not indicated any prevailing danger. As soon as this drum beats are heard, all
members of the community have to be ready. In order to guarantee that help and support are
provided, every family is asked to keep ready a drum including drum sticks. Transcription for
this Ggwangamujje rhythm by Ronald Kibirige:
Also village churches used the drum for communication. Churches that are distributed rather
far away from each other use the drum in order to communicate the beginning of their
services. The drum calls the community to church service. During the service itself, the drum
is used to play hymns.

4.14 The drum and spirituality

The Buganda believed in superhuman spirits. Balubaale were men who carried those
deceased over into death. Mizimu were the ghosts of dead people. They believed that the soul
lives on. The supreme power was the Creator, Katonda. Some other Balubaale (about 37) had
very specific functions; there were the god of the sky, god of the rainbow, god of the lake,
etc. They built for them all special shrines or temples. Temple’s were served by a medium or
a priest who had powers over the temple. They also believed in spiritual powers, particularly
witchcraft, thought to cause illness and other misfortune. People often wore amulets (charms)
to ward off their evil powers. The most significant spirits were the Muzimu or ancestors who
visited the living in their dreams and sometimes warned of impeding dangers. The Balubaale
cult no longer exists. The belief in ancestors and the power of witches, however, is still quite
common.

Dance and music having drum accompaniment at ritual sites amasabo (shrines) Spirituality
constitutes an important feature and characteristic of the Buganda culture, still being
practiced today. The Baganda people worship their gods; Kiwanuka for children, Mukasa for
fishermen, Ddungu for hunters, Kibuuka for warriors, etc. Africans believe in spirits and
ghosts living in different areas, being active and having their importance and reason. They
build altars (shrines) for their gods, where they present them with sacrifice gifts. Such shrines
are equipped and maintained by priests, fortune tellers, media and other spiritually gifted
people.

The drum is one of the instruments that cover an important aspect in the ancestor worship of
the Baganda. It is an accompaniment to such worship processes. A shrine ritual is never
celebrated without drum accompaniment. A fortune teller or preacher is not able to perform
such ceremonies without drum accompaniment. The drum presents a medium between the
world of the visible and the world of the invisible. During a worship process there are played
all drum rhythms in order to call the ancestors or also the gods / spirits; all are to come to this
ritual site and participate in these praises. It is the drum, which seeks to establish a connection
with the spiritual world in the course of such invocations and prayers.

Drums are further used for therapeutically purposes and for healing. Also people having
emotional, psychological and mental disorders seek support with healers playing the drum.
Herein, drum rhythms are used in the form of sound therapy in combination with songs. The
patient is to actively participate by way of music and with the help of the healer in such
session. Using the songs and the drum, the patient is to be scanned, thus recognizing his/her
illness/disorder, wherein all the spirits and ancestors necessary are invoked to participate in
the healing process. The patient, however, often goes into a trance, too. This type of therapy
is used to cure and heal people having psychological disorders but also in the case of stress,
infertility, etc. For this reason, the drum is considered a mediator of these persons, trying to
bring them back into life, into a daily routine, to free them of their problems and their aches
and pains, and to bring them back into community life.
Apart from traditional rituals in the community, the drum is nowadays also used in the church
service. The missionaries described such indigenous music and dances as heathen and pagan
practices, defining them as being satanic and excessive. Such rituals and rites did not
correspond to their ideologies, which is why they were originally forbidden.

The drum, however, was the first traditional instrument to enter church practices. The drum,
however, was re-contextualized for church-internal contexts; the style of playing was
modified, and adapted to the festive sites.

Whereas the secular dance Baakisimba is loud and is performed in a solemn and ceremonious
mood, church has restricted this dance to certain motives. The drum, as traditionally required
to have two sounding pearls, these magical symbols, was prohibited. After the drum being
accepted, it was subsequently used for ecclesiastical music and church songs, and it was
finally introduced, in the local language and accompanied by traditional instruments.
Traditional melodies were provided with new texts.
This shift in conception made church service more accessible to the indigenous population. In
Buganda, a drum rhythm was named “abasaseredooti balyabulungi, balyabisiike
nebamalabagejja” (the church priests eat well, they eat fried food, and this is why they look
so healthy). In this way, the position and the status of the church and those of the priests were
increased, which finally brought about the inviolability of the church as an institution.

In Buganda drums are rather popular, namely: Baakisimba, Mbaga, Maggunju, Nankasa, and
Muwogola. All the drums mentioned are accompanied by drum and instruments including
vocals at the royal court.

Baakisimba – a court dance at the royal court, wherein the engoma‘s (drum set) were the
most important accompaniment and directed until the middle of the 20th century by two
drums, this is the embuutu (big drum) and the engalabi (long drum). The embuutu is a big,
conical double membrane drum, whereas the engalabi is a long hand drum, provided with a
single membrane and an open lower end. The engalabi syncopates the rhythm, whereas the
embuutu initiates the main melody. Two further drums have been integrated in the set. The
empuunyi (bass drum) having the lowest pitch gives the central beat and determines the
tempo of the dance. The two namunjoloba (small drums) were also included for decoration
and facilitation; for playing, there are used two sticks, and these are in charge of directing the
dance flow by initiating transition signals.

Maggunju is a dance danced at the king’s court, which is strongly marked by melodical drum
accompaniment and rhythmical patterns. In the Maggunju dance, a rhythm pattern is
combined with texts. For example, the two big drums embuutu (big drum) and empuunyi
(bass drum) produce nkutte mu nsawo, nkutte mu nsawo, nkutte mu nsawo eya Ggunju neeya
Kasujja (I have tried to touch Ggunju and Kasuujja). This drum rhythm is intended to present
the common attempt of the two girls, Ggunju from the Butiko clan (mushroom) and Kasujja
from the Ngeye clan (Kalebasse monkey), which accompany the dance.

The development of the Maggunju dance goes back to the reign of Kabaka Mulondo in the
year 1555. The small drums (namunjoloba) also create a coded rhythm ensuku zaffe bbiri
zeezatuwonya enkololeka nneesulike ondabe (which accompanies the two girls Ggunju and
Kasujja), from whom Kasujja is chosen to become the wife of the Kabaka Nakibinge.

The Mbaga dance is only accompanied by two drums, the embuutu (big drum) and the
engalabi (long drum). These two drums represent the male and the female form (a discussion
thereon is the frame within the dance). The dance is performed during the wedding ceremony.
This Mbaga dance is exclusively performed for freshly and already married couples. It is
known for its elaborative and narratively sensual gestures and is to communicate sex
education. The two drums (engalabi and embuutu) dictate gestures and movements for this
Mbaga dance. The dancer-girl represents patterns and structures to this poly-rhythmic drum
beats; movements with waist, leg movements and arm gestures are emphasized.

For all traditional dances of the Baganda, the drummer is stimulated to indulge in creativity –
with a mixture of vocals and clapping (engalo), dictating the dance steps for the male or
female dancers, requiring good communication and co-ordination between the different
drummers. For the drummers it is important to pay attention to their entry, to keep the tempos
and pitches and simultaneously to improvise and introduce interesting turns or changes. The
drive has to be perfectly attuned, and the drum sets are determined for an appropriate tempo
for the dancers, wherein this may sometimes be rather different from vocals, and there is still
enough space for the next drum entries. The instrumental accompaniment acts as life energy
for the dancer in the form of tempos, energy and kinesthetic quality (motion), which are then
combined to the overall performance.

In Buganda the embuutu (big drum) defines the rhythm in accompaniment to the Baakisimba
dance “abaakisimba b'ebaakiwoomya” (the people who have made a banana juice from this
sweet banana shrub, which becomes alcoholic in the fermented state). This text is beaten with
both hands and played by scratching on the membrane. The text tells of the development of
this dance. There is assumed that the Baakisimba dance has its origins at the court of the
king, when the kabaka (king) and his subjects got happy (this is, drunk) by drinking this
fermented banana juice (in Buganda, however, a kabaka must not get drunk). After the
festivities had ended, the kabaka started dancing and praised his subjects, telling them that he
loved this banana shrub and the fruits, from which this wonderful and sweet banana juice was
produced. The speech of the kabaka, “abaakisimbab'ebaakiwoomya” (those who have
produced from this banana shrub such a bronze coloured, sweet juice) was integrated in the
drum rhythm of the Baakisimba dance. The text further praises the agriculture in the
kingdom, which represents the backbone thereof and is to be promoted.

The drum has a rather special position in the social, cultural and political ideology of the
Baganda people. The centrality of the drum is visible in the Ganda saying ekibi kikira
engoma okulawa (Sin is better than the destruction of the drum). The drum unifies the
community consisting of clans, signals death, danger and happiness. It unifies people under a
leader in various levels with the kabaka (king) as their central power. The drum conveys the
identity of an indigenous, social structure with clan systems, which form the basis of the
community of the Baganda people, to the tribes. Playing technique and rhythm are part of all
social, cultural and religious systems of the Baganda. Nature and power of the drum represent
with the culture of the tribes the developments thereof as well as social changes.
 CHAPTER THREE
RESEARCH METHODOLOGY

This chapter gives a description of the study area and the methods that was be used to collect
data from field. It also gives an outline of the research design, area of study, sample
population and selection, data collection, procedure and data analysis.

3.0 Research design

The study was designed to analyze and collect information on the process of making Ganda
drums. The research was focused on the tools, material, and the techniques used in the
process of making drums.

3.1 Area of study

The research was carried out in Mpigi district located in the central region of Uganda.

3.2 Data sampling technique

The sampling technique is a statistical analysis used to select manipulate and analyze a
representative subject of data points in order to identify materials, tools and trends in the
large data set being examined in this case the sampling random technique method to
randomly was chosen a certain group among the drum makers at Mpambire village.

3.3 Research instruments

The research instruments were notebook, interview guide, camera, recorder, Informants
groups, and observation checklist and, group discussion topic

3.4 Data collection methods;

3.4.0 Interviews
Interviews were done both face to face with the drum makers or interviews with key
informants in Mpambire drum makers. It include verbal exchange of words where important
information was shared between the researcher and the respondents mainly following the
interview guide.

3.4.1 Observations
Observations were done mainly by the use of the eye to carefully view, collect and analyze
important information from the area of study .observations was mainly used following the
observation schedule and guide.
3.5 Data analysis

3.9.1 Data presentation

Data which was gathered was presented using photographs which will be derived from the
selected craft forms but most of it will be presented in written form for example the
information collected from interviews and questionnaire was presented in written formulate

3.6 Ethnical consideration

Permission was requested from respondents before interviewing them. Permission was also
be sought from the drum makers in the same area before taking photographs

3.7 Photography
In observation, photography was used also as a method to collect information by recording all
the steps in the drum making process. Photography was also used to capture the tools,
materials and other accessories in the process.

3.8 Participant observation

Participant observation is one of the tools that were used to gather data for this study. I
involved myself in process to hear the nature of the words they used and the slogans in the
field of drum makers

3.9 Personal Experience

Being part of the Buganda kingdom, born and raised in Mpambire my personal experience of
drum making is on the greater side because it is drums that my father make and sale to get
money for my school fees ever since my baby class.

3.10 Editing
After collecting and analyzing data in the field, I will then compute my data and organizes it
to make it meaningful to the reader.
 CHAPTER FOUR

CONTEXTS OF DRUM SHAPING AND TOOLS USED

Afield study at Mpambire drum makers which is found in Mpigi district in

Uganda , this village has got varies sub villages that is to say Ndugu, konkoma,
Wabirembwe, Kaligwa and it is neighbored by Kalagala in the north, and
Kafumu in the east and Bubuule in the south. It is located along Kampala-
Masaka high way.

That is to say the village is surrounded by forests for example Mpanga forest
where they get the tree trunks and the hides from the nearby livestock farms and
the market for the drum since they are sold
4.1 Preparing a trunk into a drum shape

The one who plants the tree is not the one who will enjoy its shade (Italian
proverb) Mpanga forest is a natural forest that was planted by the mercy of God
and some of the trees that were planted by birds through dispersal. In this forest
there is a lot of tree species that are suitable for making long lasting drums for
example Kirundu, Namukago, Kabalira, Setaala and others. A number of tree
trunks are got from the nearby forests mostly Mpanga forest where people go
and make survey to find out the tree that is suitable for making a drum, after one
has gotten the tree then he comes back with tools such as an axe, a saw, plus a
Panga to clear where to stand when cutting the tree. Since this is very tiresome,
it is then done by more than one person. When the tree is down, every one runs
to it with a hatchet to cut wood, an Italian proverb which indeed also applies in
the Ugandan culture, the remains (the tree branches) are then collected as
firewood by the community.
The tree trunk is then cut into round pieces according to the size of the drum to
be made for example the big drum mostly known as “Kafuba”, Namunjoloba,
the long drum “engalabi” the bass drum locally known as “Mpuunyi”. After
then the pieces are then taken to the working station were a chipping tool is then
inevitable to make a hole in the shape, this is done when the tree is still fresh to
easy the chipping process.
Fig.1 Bamulondeko Crowther and Kasule Yasin making holes in the well-shaped tree trunks
In this process of making the flame of the drum, is the first step taken to make
drum, measurements are made on the tree trunk. Using a tape measure before
any cuttings is made, for the big drum locally known as “Kafuba” with its
height of 27 inches and the base 7 inches and the top 20 inches

The base drum (empuunyi) is also another drum that is made in this drum
village (Mpambire) this drum produces base beats in accompanying the Kafuba
drum which produces different melodies. The base drum has 25 inches in
height, 7 inches base and 18 inches as its top.
Name of the fabricator Bamulondeko Crowther and Kasule Yasin
Activity Making holes in the drums
Material used Wood
Tools Chipping tool (ekifumu), Panga
Techniques/methods

A collection of tools are used to make the drum shape perfect, which include an
axe, Panga, chipping tools locally known as “ekifumu” embajjo, sand paper to
smoothen the shape.

Fig.2 A drum shape (Kafuba)

Name of the fabricator Kajimu Robert

Activity Drying a drum shape in the morning
sunshine
Photographer Musenze Steven
Date 13/July/2019
Material used Wood

Then after the shaping process the frame is then let to dry so that I can lose
weight, this is done in the cool environment were direct sunshine can’t reach
simply because when the drum frame/wood is placed in a direct sun when it is
still fresh it develop cracks which eventually drum shape develop cracks after
the framing.
The frame is then kept in the safe room without light for about a fortnight.

Fig.3 Smearing cow danger on the drum shape.

Name of the fabricator Sunde Miiro

Activity Smearing cow danger
Photographer Musenze Steven
Date 13/July/2019
Material used Cow danger
Tools Hands
Techniques/methods Smearing, drying.

Smearing the shape with cow danger to stop the insects that damage the wood
and the after then it is left to dry

Fig 4 hides in the direct sunshine

Name Sunde Miiro
Activity Drying hides in direct sun
Photographer Musenze Steven
Date 13/July/2019
Tools Shape short ended sticks, knife, hummer
Techniques/methods Stretching, gathering sticks.
Animal hiddes are then stretched and put in the sunshine to dry, a number of
short, sharp sticks are used to make this possible on the flat ground. This takes
to about two days.
After it has dried, different circular sizes for the drum top and a square like
shape for the lower part of the drum, are cut out using a knife, this is done with
measuring tape to make it perfect.
The cut out hide is the soaked in water to make it soft again to make it easy to
be worked upon, the hides are soaked for 12 hours

Fig 5 Soaking hides to make them soft.

Activity Soaking hides

Photographer Musenze Steven
Date 13/July/2019
Material used
Tools Water, heavy stone to keep the hide in
water, source of water.
Techniques/methods Soaking

4.2 Inside the drum/dressing the drum

After cutting the hiddes into the deserved shapes, its then the top hidde is laid
down as shown in the photograph below for easy

Fig.6 Dressing the drum by sande Miiro

Fig.7 dressing the drum

Dressing the drum is the one of the processes in drum making, this is done wi the help of the
needle(olukato) and this is for piercing a simple hole in the hidde where nylon threads pass to
connect the top hidde and the bottom, this step is locally known as "amabago" on the flame of
the drum.

After puting the drum on the "amabago" is then set to dry in direct sunlight for like three to
five days

Fig.8 Drying the dressed drum.

Fig. 9 Cutting “enkoba” to be used in the drum finishing

In the processes of waiting for the drum to dry, then one gets a dry hide and he start cutting
long string with not less than 0.5mm that are used to permanently connect the drum.

After the cuting, strings are then soaked in water for some good time so that they are ready to
be worked upon that is to say it is then rolled over someones leg/ drum frame to make a string
like rope, this step is done in the sun shine to allow the “enkoba” dry.

To cut these strings, the following tools are used;

A knife

A bench
File

Fig.8 Cutting strings out of the hide.

Name Muzeeyi Ronald
Activity Cutting strings out of the hide.
Photographer Musenze Steven
Date 13/July/2019
Material used hides
Tools Knife
Techniques/methods Cutting.

Fig.9 Tuning the drum.

Name Ssempijja Deo
Activity Tuning the drum
Photographer Musenze Steven
Date 13/July/2019
Tools Needle, knife,
Techniques/methods Piercing
Fig.10 Drumming at Masaza cup (mawokota vs. budu) police stadium mpigi

OTHER CRAFTS MADE IN THIS CREATIVE VILLAGE

There are various themes depending on what the fabricator/designer has decided to make,
besides the known local and traditional drums many people in this village have resorted to
make small that are used in designs wall hangings, table drums that are put in houses and
extra huge drums that are used in celebrations for example in the Buganda masaza cup.

Fig. 11
The drum production over the ages has been improved and most especially the industrial
revolution
That is to say many designs have been developed due to industrial revolution in the world,
for example “jembe” drums that are made in south Africa were also introduced in Uganda by
the drum makers in mpambire due to the demand and market that had risen up on Uganda,
and international market.

Due to the glowing population in Mpigi and Mpambire in particular residents have resorted to
making other crafts that can make them earn a living, that is to say they have started weaving
baskets, making mottors.

mottors (ebinnu)

BASKET MAKING
MAT MAKING

Acording tho the namubiru juliet 42 year old woman who is one of the single mothers in this village
(Mpambire) resorted to making mats and basketrey to earn a living and and to educate their children
so that they can aqiure a bright future. "since we dint aqiure education in our days we couldnt want
our children to follow our lead, thats why we struggle day and night to make it happen" Juliet said',

Although they dont earn much in these crafts the make but there can earn a living that is to say eating
once a day to save for tomorrow.

--
 CHAPTER FIVE

CONCLUSIONS AND RECOMMENDATIONS

5.1 Conclusions

In conclusion the student at Magrate trowel school in industrial fine art benefited a lot in the
this piece of research in a way that the student managed to apply the theoretical knowledge
from the university into practice through the many tasks this research was instructed to do.

The research improved the skills like interpersonal, listening, writing skills, acting freely
around the people, typing skills, recording, analytical skills. The student learnt many lessons
which included; how the working environment in word fabrication runs. The student got
different ideas from different steps in making a good fabrication pieces and also through
interacting with drum makers and this contributed a lot on the knowledge and experience.

Finally, the research was fun and therefore i would encourage Makerere and other
universities to give students the opportunity to do their academic research, internship from
Mpambire drum shops so that they can discover more about fabrication and culture.

5.2 RECOMMENDATIONS
The drum workers should start up cooperative organizations to allow them collect money for
future development.

I recommend the drum shops to not the drums on the ground to prevent them being spoilt by
moisture.
The studio/ working place could be extended to increase space because the growth in the
population is growing day and night.
Acquiring modern machinery in the drum shops that is to say getting that can drill holes the
stem to make a drum shapes inn stead of using man power which take a lot of time and
tiresome as well.
REFERENCE
The influence of ancient drum practices on contemporary music. Lutaaya B.
http://startjournal.org/2013/13/03 HYPERLINK "http://startjournal.org/2013/13/03/the-
influence-of-ancient-drum-practice-on-contemporary-music/" HYPERLINK
"http://startjournal.org/2013/13/03/the-influence-of-ancient-drum-practice-on-
contemporary-music/" HYPERLINK "http://startjournal.org/2013/13/03/the-influence-of-
ancient-drum-practice-on-contemporary-music/" HYPERLINK
"http://startjournal.org/2013/13/03/the-influence-of-ancient-drum-practice-on-
contemporary-music/" HYPERLINK "http://startjournal.org/2013/13/03/the-influence-of-
ancient-drum-practice-on-contemporary-music/" HYPERLINK
"http://startjournal.org/2013/13/03/the-influence-of-ancient-drum-practice-on-
contemporary-music/" HYPERLINK "http://startjournal.org/2013/13/03/the-influence-of-
ancient-drum-practice-on-contemporary-music/"/the-influence-of-ancient-drum-practice-on-
contemporary-music/

https://www.encyclopedia.com/environment/encyclopedias-almanacs-transcripts-and-
maps/drums

"Drums."Encyclopedia.com. 26 Apr. 2019 <https://www.encyclopedia.com>.

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Keshavarz, Fatemeh. Reading Mystical Lyric: The Case of Jalal al-Din Rumi. Columbia,
S.C., 1998.

Powers, William K.Beyond the Vision: Essays on American Indian Culture. Norman, Okla.,
1987.

Redmond, Layne. When the Drummers Were Women; A Spiritual History of

Rhythm.NewYork,1997.

Sindima, Harvey J. Drums of Redemption: An Introduction to African Christianity. Westport,

Conn., 1994.

Vélez, Maria Teresa. Drumming for the Gods: The Life and Times of Felipe GarcíaVillamil,
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Agordoh, A. A. Studies in African Music, Revised Edition, 1994, Ho New Age Publication,
Ghana. Aisha, Business Administration Student, interviewed by author, May 1, 2003.

Antoinette, Ghanaian African Drummer, interviewed by author, March 18, 2003

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APPENDICES
APPENDIX 1: Glossary

APPENDIX 2
Research Interview Guide

INTERVIEW GUIDE
I am Musenze steven an undergraduate student of Makerere university ,college of
engineering ,design art and technology and of the Margaret trowel school of industrial and
fine arts .Iam carrying out research On the drum making process And all the information that
will be provided is mainly enrich my research and for academic purposes and feel free with
great confidence to answer any question

Personal information of the respondent

What is your Name?

What is your Level of education?

What is your Age?

What is your Position?

What is your Nationality?

What is your Sex?

Where do you get the tree trunks to make drum shapes?
What type of trees do you use to produce a long lasting drum piece?
What are the difficulties in the search for the sweetable tree to make a drum?
What are the tools used in the tree cutting process?
What are the inevitable problems that are faced when searching and cutting the tree?
What are the machines that are needed to make the cutting and the chipping process easy?
What animal hide is used to produce a good sounding drum?
Where do you collect the animal hides?
How do you process hide to fit the drum making process?
How long does it take to make a well finished drum?
What are the general problems do you face in the process of drum making?
How have you tried to solve the problems you face?
Where do you sale the finished drums?
Which kind of people/organization does buy the drums?