Kadodi dance

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Kadodi dance is a traditional dance performed by the Bamasaba people, also known as the Bagisu or the Gishu, who live in the eastern part of Uganda and the western part of Kenya.[1][2] Kadodi dance is mainly associated with the Imbalu the male circumcision ceremony that marks the transition from boyhood to manhood among the Bamasaba.[3] Kadodi dance is also performed at other occasions, such as weddings, festivals, and cultural events.[4][5][6]

History

Kadodi dance is believed to have originated from the ancient rituals and practices of the Bamasaba ancestors, who migrated from the Nile region and settled in the slopes of Mount Elgon. Kadodi dance reflects the Bamasaba culture, identity, and history, especially their attachment to cattle keeping and agriculture. Kadodi dance also incorporates influences from the neighboring communities, such as the Baganda, the Basoga, the Banyole, and the Kalenjin.[7][8]

Performance

Kadodi dance is performed by groups of dancers, both male and female, who wear colorful costumes and adornments, such as beads, feathers, cowrie shells, and animal skins. The dancers move in a circular formation, following the rhythm and tempo of the drums, flutes, horns, and rattles. [9] The dancers also sing, chant, and clap, creating a lively and energetic atmosphere. The performance of Kadodi dance is interactive, as the audience joins in the singing, cheering, and dancing.[10][11]

The performance of Kadodi dance is influenced by the context, the occasion, and the audience. The most common and significant occasion for Kadodi dance is the Imbalu, the male circumcision ceremony that takes place every even year. During the Imbalu, the candidates for circumcision, known as basinde, are escorted by the Kadodi dancers from their homes to the circumcision grounds, where they undergo the ritual cut. The Kadodi dancers praise the basinde for their courage, bravery, and endurance, and also mock and challenge them to prove their manhood. The Kadodi dancers also entertain and educate the spectators, who come from different clans and regions, about the Bamasaba culture and values.[12][13]

Significance

Kadodi dance is significant for the preservation and transmission of the Bamasaba culture, identity, and history. Kadodi dance celebrates the Bamasaba way of life, their traditions, and their achievements.[14] Kadodi dance also serves as a source of entertainment, education, and socialization for the Bamasaba and other communities. Kadodi dance also promotes unity, solidarity, and harmony among the Bamasaba, who share a common ancestry, language, and culture.[15][16]

References

  1. ↑ Wanyenze, Immaculate (2011-04-13). "Kadodi joins mainstream entertainment". The Observer - Uganda. Retrieved 2024-01-10.
  2. ↑ Nannyonga-Tamusuza, Sylvia A.; Solomon, Thomas (2012). Ethnomusicology in East Africa: Perspectives from Uganda and Beyond. African Books Collective. ISBN 978-9970-25-135-3.
  3. ↑ "Vision Group's second Kadodi Karnival lights up Kampala". New Vision. Retrieved 2024-01-10.
  4. ↑ "Kadodi lights up Uganda Museum". Monitor. 2022-05-09. Retrieved 2024-01-10.
  5. ↑ Nannyonga-Tamusuza, Sylvia A.; Solomon, Thomas (2012). Ethnomusicology in East Africa: Perspectives from Uganda and Beyond. African Books Collective. ISBN 978-9970-25-135-3.
  6. ↑ Independent, The (2022-10-19). "Bagisu circumcision on knife's edge". The Independent Uganda. Retrieved 2024-01-10.
  7. ↑ Wanyenze, Immaculate (2011-04-13). "Kadodi joins mainstream entertainment". The Observer - Uganda. Retrieved 2024-01-10.
  8. ↑ Ssebulime, Andrew (April 2023). "Positioning of Imbalu Circumcision Ritual Dances among the Bagisu ethnic tribe". Journal of African Cultural Studies.
  9. ↑ "Kadodi carnival excites revellers in Kampala". Monitor. 2022-05-08. Retrieved 2024-01-10.
  10. ↑ "Vision Group's second Kadodi Karnival lights up Kampala". New Vision. Retrieved 2024-01-10.
  11. ↑ Omukunyi, Bernard (2022-12-31). "The Bamasaaba people's response to the implementation of the Safe Male Circumcision Policy in the Bugisu sub-region in Uganda". Cogent Social Sciences. 8 (1). doi:10.1080/23311886.2022.2047261. ISSN 2331-1886.
  12. ↑ Makwa, Dominic D. B. (December 2016). Collaborative archiving of music and dance : framework for a more-inclusive postcolonial archive among contemporary Bagisu, Uganda (Thesis). Stellenbosch : Stellenbosch University. hdl:10019.1/100427.
  13. ↑ Bakka, Egil; Kibirige, Ronald (2023-12-19). "Modes of Dance Realisations – Netloristic Analysis of Dance". Musikk og Tradisjon (in norsk bokmål). 37. doi:10.52145/mot.v37i.2254. ISSN 2703-7320.
  14. ↑ Makwa, Dominic D. B. (December 2021). "Musicking and Dancing Imbalu at Namasho: Enacting Indigenous Education Among the Bagisu, Uganda". Yearbook for Traditional Music. 53: 127–154. doi:10.1017/ytm.2021.28. ISSN 0740-1558. S2CID 245839076.
  15. ↑ Rashid, Naziru; Nazziwa, Aisha; Kantono, Rehema; Kasujja, Hassan; Zziwa, Swaibu (2021). "Assessing Knowledge and Practices of the Community towards Corona Virus Disease 2019 in Mbale Municipality, Uganda: Across Section Study". The East African Health Research Journal. 5 (1): 20–25. doi:10.24248/eahrj.v5i1.647. ISSN 2520-5277. PMC 8291215. PMID 34308241.
  16. ↑ Nannyonga-Tamusuza, Sylvia A.; Solomon, Thomas (2012). Ethnomusicology in East Africa: Perspectives from Uganda and Beyond. African Books Collective. ISBN 978-9970-25-135-3.

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