The 2010 Lugbara Culture Dialogue

John Middleton, Born 1921, Died 2009 (Rest In Peace)

ISARA MEMORIAL CULTURAL AND COMMUNITY LIBRARY LIMITED [IMCCL] presents: The 2010 LUGBARA CULTURE DIALOGUE

1. Theme: “Preserving the Legacy of Lugbara Culture, History and Identity to Promote Development and Enhance Unity among the Lugbara People”

2. Venue: EKARAKAFE CATHOLIC MISSION HALL in Ezuku, about 2 KM away from Vurra Customs Border Post that is near Congo

3. Date: Friday 12th February 2010

4. GUEST SPEAKERS:
Main speaker: JOHN MIDDLETON (unfortunately died early 2009. May his Soul Rest in Peace. He was 87 Years old and had studied and written majorly about five African cultures namely the Lugbara of Uganda en Eastern Zaire, Igbo plus Lagosians of Nigeria, Akan of Ghana, Swahili of Kenya en the Shirazi of the Zanzibar Protectorate. A family member could be invited to represent him.

Moderator: Livingston Obba

Other speakers:
Rt. Rev. Joel Obetia
Dr. Erick Adriko
Vurra County Community Development Officer
Alaka and Moses Adriko
Vurra Chief Elder
Mr. Abiria Jackson
Mr Amatre Jimmy
Mr. Nyati Elkana
Rev. Lameck Wadia
Dr. Sam Okuonzi

5. Guest of Honor: Hon. Simon Ejua

6. Invited Guests:
a. RELIGIOUS LEADERS:
Catholic
Protestants
Islam
Methodist
Elim Pentecostal
Full Gospel Church
Others

b. SCHOOLS:
History Teachers from Primary Schools in Vurra County
and the Head of History Department in National
Teachers College (NTC), Muni

Students from Vurra SS, Okufura SS, Arivu SS, Anyavu
SS, Logiri Girls SS, Nile College, Ocoko Girls SS, Ajia SS,
Muni Girls SS, NTC Muni

c. ELDERS:
Ten Elders selected from the following areas:
Arivu, Ajia, Logiri, Upper Vurra, Ayivu County, Terego,
Maracha, Koboko, Madi, Aringa and Democratic
Republic of (CongoDRC)

d. Ten Politicians (with various Political Leanings) from
Arua District

e. Journalists

f. Others to make a total of about 150 Participants


TENTATIVE PROGRAM
(Arrival at 9.00 AM):

1. (10.00 AM - 10.45 AM) ‘Profile of Lugbara: Overview/Facts/Leadership’ By Mr. ABIRIA Jackson

2. (11.00 AM - 12.00 PM) ‘The Culture, History and Identity of Lugbara’ By Opi OYAA Nahory/ John MIDDLETON was supposed to talk on this topic but unfortunately passed away in early 2009. May his Soul Rest in Peace!

3. (12.00 PM - 12.30 PM) ‘The Role of Cultural Library in Community Development’ By CDO

4. (12.30 PM - 1.00 PM) ‘Difference between a Library, a Museum, and a Community Centre’ By Mr. AMATRE Jimmy/ Mr. NYATI Elkana

5. (2.00 PM - 2.30 PM) ‘Using Culture as a Medium for Development’ By Sam OKUONZI

6. (2.30 PM - 3.00 PM) ‘When Does the Cultural Values, Norms, and Superstition apply in Conflict Resolution’ By ALAKA/ Moses ADRIKO

7. (3.00 PM - 4.00 PM) ‘The Relationship between Lugbara Traditional Religion, and Western or Eastern Religious Doctrines' By Rt. Rev. Joel OBETIA, Bishop of Madi and West Nile Diocese

8. (4.00 PM - 4.30 PM) ‘How can Lugbara Preserve their Identity?’ By Mr. AYIKOBUA Edward

9. (4.30 PM) Conclusion By the Guest of Honour, Hon. Simon EJUA, Minister of Transport and Member of Parliament for Vurra Constituency

DEPARTURE: 5.00 PM

(Any Changes in the Programme will be communicated) GOD Bless!

Drawn by CHARLES K. BUA, Coordinator/Director IMCCL Ltd (08/08/2009) and Edited by Aiko

In Memoriam: Renowned Africanist Scholar John Middleton
Published: March 27, 2009

New Haven, Conn. — John Middleton, Professor Emeritus of Anthropology and an internationally renowned Africanist Scholar, died on February 27th 2009 after a brief hospitalization. He was 87 years old. Middleton's field work and major ethnographic writings on African cultures forged new anthropological perspectives on their political and social structures. He conducted five major field studies in Africa: among the Lugbara of Uganda and Zaire; the Igbo and Lagosians of Nigeria; the Akan of Ghana; the Swahili of Kenya; and the Shirazi of the Zanzibar Protectorate. Out of this research came three classic studies: "Tribes Without Rulers" (co-edited with David Tait, 1958), which offered insights into the structure and functioning of tribes not subject to a unified political power; "Lugbara Religion" (1960), which explored how belief systems can be — and have been — manipulated for political reasons; and "From Tribe to Nation in Africa" (co-edited with Ronald Cohen, 1970), which dealt with the gap between the state and society in that continent caused by colonialism and perpetuated into modern times. The latter volume became a standard textbook used in courses on Africa and political studies. He also authored and edited well over 100 other articles and books. In a 1999 interview in the journal Current Anthropology, Middleton noted that one of the most important things he learned doing fieldwork was "you can do utterly nothing without people telling you what they want to tell you. And they decide how to do it, as the leading partners in a joint task of learning, as when they decided to tell me the myths of origin. You see, I would sit on the great rock near my house and ask people, ‘Who lives there? Who lives there?' because you could see the landscape laid out in front of you — you could see 100 miles with thousands of little villages. And they'd say, ‘Well, now you've got to learn how we came here.' And everybody started telling me myths. People tell you what they want you to learn."

Born in London, England, in 1921, Middleton received his B.A. in English from the University of London in 1941. He was called up for service in the fall of that year, and, after receiving officer training, was sent to East Africa to serve in an infantry battalion in the colonial army there. In fact, Middleton recalled in his Current Anthropology interview, "I first saw Africa from the deck of a troop-ship in Freetown Harbour, in Sierra Leone, one day in late 1942. It was during a lightning storm, and we had to remain on board looking at the green hills around the city through dismal curtains of rain, while sweating from the humidity." He told the interviewer that his experiences in Africa definitely influenced his field of study. "Had I gone to Malaysia, I might have ended up studying Southeast Asian societies."

After the war, Middleton received his B.Sc. and Ph.D. in Social Anthropology from the University of Oxford in 1949 and 1953 respectively. He held several positions before coming to Yale in 1981: Lecturer of Anthropology at the University of London 1953-1954 and 1956-1963; Senior Lecturer in Social Anthropology at the University of Capetown 1954-1955 and at Rhodes University 1955-1956; Professor of Anthropology at Northwestern University 1963-1966 and at New York University 1966-1972; and Professor of Anthropology at the University of London, 1972-1981. At Yale, Middleton chaired the Department of Anthropology 1983-1986 and the Council on African Studies 1983-1988. He received a joint appointment in Religious Studies in 1987. He retired from Yale in 1991, but continued to remain active at the University and continued to do research and publish.

Middleton served as the acting co-director of the International African Institute 1973-1974 and 1980-1981, and served as Editor of the institute's Journal Africa 1972-1979. He received the institute's Gold Medal for Service to African Studies in 1979. He was president of the then-new Association for Political and Legal Anthropology 1983-1985.
He was a fellow of the Royal Anthropological Institute, the American Anthropological Association and the Association of African Studies. He was also a member of the American Society for the Study of Religon and the Association of Social Anthropologists of the Commonwealth.

Middleton is survived by his wife, Michelle Gilbert; his daughter, Jane Middleton; and his grandaughter, DeeDee Middleton.

OLE (Witchcraft in the Heart)

'Ole' means indignation, envy or annoyance at sinful behaviour. Invocation of ghosts is done by a living person, typically an elder; but anyone whose father was dead might do so. He sat near his shrines in his compound and thought about the sinner's behaviour. His thoughts were known by the ghosts and they then sent sicknessto the offender. It was said "he thinks these words in his heart", he did not threaten or curse the offender. For a senior man to do this was part of his expected role. It was part of his 'work' to 'cleanse the lineage home'. Indeed, an elder who did not do so when justified would have been lacking in sense of duty towards his lineage. A man might invoke the dead to send sickness against any member of his family cluster and his minimal lineage, whether living in the family cluster's compounds or not. Within the family cluster were included lineage members, their wives and attached kin such as sister's sons. A man was thought not to invoke against sister's sons living elsewhere: to discipline them was the duty of their own elders where they lived... A living man was thought to invoke the dead because he felt the sentiment of indignation over sin...

There were various forms of witches. Some, the most common, walked at night, often in the guise of a rat or other night animal, or as a moving light; others walked about and defecated blood in their victim's compound. In the morning the victim would wake up aching and sick and might die unless the witch removed his witchcraft. Lugbara people understood that a witch's motive was 'ole' which meant that anyone could be a witch. It was said that a man felt envy at seeing others eat rich food when he had nothing, at seeing other men dancing and admired by women while he stood alone, or at seeing other men surrounded by kin and children when he had none of his own. But the sentiment of 'ole' was more than mere envy. It was resentment at failing to achieve selfish personal ambition. In Lugbara Culture, high status and prestige were traditionally acquired only or almost only through position in the lineage and by age, the two usually going together.

(Excerpt from "The Lugbara of Uganda" by John MIDDLETON)

A Short History of the Lugbara (Madi) by Lulua Odu 1996

The foreword of this book is written by Jason Avutia (The Chairman of LULA and an Elder), preface is by Lulua Odu 24th August 1996 Arua, West Nile. Born in 1947, Lulua Odu is a homeboy from Muni near Arua Town in the former West Nile District. In 1955 he entered Arua Demonstration Primary School at Mvara. During the 1959 Primary Leaving Examinations (PLE),, he came top in the whole District and won a six year scholarship paid by the West Nile District Administration. In 1960, Mr. Lulua proceeded to Ombatini Junior Secondary School in Terego County for two years before joining Kings College Budo (1962 to 1967). In July 1968 he went to the University of Dar es Salaam to read Law which he completed in March 1971. He obtained a Diploma in Legal Practice in 1975 at the Law Development Centre, LDC Kampala. In 1977, he was enrolled as an Advocate of the High Court of Uganda. Mr. Lulua has worked with the Immigration Department as Visa Officer and also the Nyanza Textile Industries Limited (NYTIL) as Legal Officer in Jinja. He is now a private legal practitioner based at Arua. He has, in addition, lectured in Business Law at the National Teachers College Muni. Lastly, Mr. Lulua was responsible for drafting the Constitution of the Lugbara Literature Association (Motto: Angu Owu ‘Bo [The Darkness has Cleared now]).

“I began my private research in 1966 while I was a student at King’s College Budo … from written sources and by interviewing different elders during vacation … I wish to thank … Jason Avutia (Chairman of LULA), Nahor Oyaa Awua (Co-ordinator LULA), Donato amabua (Chairman Arua DLC), Silla Mua (Court Broker), Barakia Yiti (Vurra Elder), Yoramu Badrayi (Ombokoro Elder) … particularly most grateful to the Dutch N.G.O. CAP West Nile for the generous financial assistance to LULA … to my deceased father Mr. Elisa Oda son of Kurua of the Ombokoro – Andruvu Clan. He encouraged me to study local history as a hobby.

Introduction: This book is an abridged version of the results of a research undertaken for the last 30 years on the history of the Lugbara (Madi) … intended for the general reader … For a long time, the Lugbara were generally regarded as people without recorded history. As such they could not be proud of themselves. The same applied to the Madi (The Lugbara are ethnically Madi and not vice versa) … the Lugbara and Madi have a common ancestry. (The issue of culture brings four [or five] countries together – Uganda, Sudan, Zaire and Nigeria [plus Congo])
Another pioneer in the formation of LULA is Abeti S. Ledra (Bachelor in Education, Masters in Education [Makerere University Kampala] Educationist)

SOCIAL STUDIES: A number of scholars have studied Lugbara Society. They were mainly European. The first was Major C.W. Stigand, a British tropical administration in the service of the Sudan Government who visited the Lugbara between 1911 – 3. Next was Dr. Alfred Tucker, a British linguist with a mission to study Eastern Sudanic languages including Lugbara (1930 – 2). The Most Well Known Researcher in the past, however, was John Middleton, an American Social Anthropologist who came to Vurra in December 1949. He wrote many books and articles on Lugbara myth, religion and mourning taboos for 3 years. At the same time, an Italian Catholic Missionary Father J.P. Crazzolara was studying the language. In 1960, the Oxford University Press published his book “A Study of the Lugbara (Madi) Language. In their footsteps came several individuals especially academicians at Makerere University. Foremost among the dons were Dr. Shiroya and Professor Delfovo. Also called A.T, the professor compiled a Bibliography on the Lugbara people and of writings in the language. Lulua’s book is a humble contribution intended to be an eye-opener to the world. The next publication to follow it is “A General History of the Lugbara (Madi) – a more detailed and comprehensive study.

AWA’DIFO FEZURI (The LORD’s Prayer for Thanksgiving)

Ata amani ovupi ‘buari
Ru mini ma ovu inzizaru;
Suru mini ma emu;
E’yo mini leleri ma ‘ye I nyakua ekile buarile.
Mi fe etu ‘dosi nyaka andruni ama dri.
Mi ku mari amani, amani ‘ba afa amani nyapi ‘diyi ma mari kulerile
Mi ji ama obeta ma alia ku;
Mi pa ama ‘ba onzi dri.
Te suru pi, Okpo pie, diza pie,
Dria mini ‘dani ‘dani.

Amena!

Why is Arua Honey the Sweetest?

I used to wonder why some people regard Arua Honey the Sweetest for example in the year 2000, Arua Honey won the Gold Medal at the Lisbon Expo in Portugal. In 2005, Uganda was chosen among the few developing countries that can export honey to Europe. Consequently, a honey and its by-products processing plant that meets European Union (EU) standards was set up in Arua Town. Bee Natural Products (BNP) is a private company that has an annual capacity of 600 tonnes providing an opportunity for bee keepers in the entire West Nile Region to intensify production of quality honey. Farmers in addition get access to national, regional and international markets. Currently, about 120 farmer groups in West Nile are accessing advisory services, modern beehives (KTB and Langstroth), harvesting gear and honey extraction equipment from BNP under a partnership with the Government of Uganda’s NAADS (National Agricultural Advisory Services) Programme for development and increase of incomes.

I posed this Sweetest Honey Question to Philliam Cema, the Arua District Entomologist, and he reasoned, “…because natural honey is harvested from natural vegetation – Acacia and Combretum Woodland (which has a variety of wild tree species that give sweetness to honey). It stretches across the whole of the West Nile Region. It’s very unique vegetation not found in other regions of the country and enters Sudan and Congo. The main problem is how the good honey can be harvested to maintain the standard. Some farmers dilute or contaminate it with ash or foreign particles when harvesting.”

In Kampala, Golden Bees Family located in Bukoto suburb processes honey products and treasures honey sources from Arua. They won the 2008 Second Runner-Up Award in the whole of Africa during the Api – Trade Africa Exhibition. They are upgrading their honey products to two labels - Wild Forest (Dark Honey) and Acacia (for Light Honey). You can find their products (which also include propolis) at their Bukoto residence and in all leading supermarkets including the new 24 Hour Nakumatt Supermarket (If you need Arua Honey, they Got it). Other outlets include Hot Loaf Bakery (Buy bread and spread with honey, that’s a good deal), Payless, Uchumi, Half Price and others.

Simple Ways of Making a Bee Hive
While paying my respects in January 2009 to my maternal grandmother who had died in October 2008 (amazingly in my father’s arms while they rushed her to Kuluva Hospital – a few miles outside Arua), I sat under a mango tree in the Aliba Home with my uncle Dick Diyo and learnt a few things about beekeeping. His eldest kid among three was also practicing it (efficiently). Maneno once set up a simple pot hive in a tree and by evening, bees had already gathered in it. A simple way to create a hive is to cover the pot opening, leave a small hole for entry probably in a crack at the bottom of the pot or elsewhere. Then put the pot on a tree branch that is convenient and watch the bees invade it after scouting. There is bee trivia that if they smell cocaine, their dances intensify. That’s one way of getting bees high. Another traditional method is making a long grass enclosure and covering the open end with something like a wooden ring, that is with wood stripes across. You can use cow dung to cover the outside. Modern methods include using wood entirely or with iron sheets. These are more long lasting. It can take one to two years to harvest for a good yield though some farmers do it after only six months. The Ediofe factory buys at a low price and sells at an expensive price to the European Market. Farmers nevertheless also sell to the local market. A 20 litre jerrycan can yield 90,000 UgX.

There aren’t very many active beekeeping associations in Arua (as Philliam Cema – the Arua District Entomologist – confessed) but one notable one is the A.M.N Regional Bee Keepers’ Association at Plot 34 Mvara School Crescent. Contact person is Jurua +256(774)680445

A few Lugbara Words

e’yo (message),
o’diru (new),
waraga (letter),
'ba (people),
tualu (together),
buku (book),
isu (find),
efini (meaning),
osita (birth),
ori (descendant),
azini (another),
Yesu Kristo (Jesus Christ),
mva (child),
angu (place),
omvi (replied),
alea (inside),
onduaru (wise),
Imbata (Education),
ayiko (happiness),
adaru (true),
dria (all),
ngurube iza (Pig meat – Pork),
au atani/ a’utani (cock),
Adrou or Mungu (GOD),
ale aza koza fe (I want to give help),
Awa’difo! (Thanks!),
orindi (spirits),
andru (today),
kpere (until),
aga (surpasses),
ega (remember),
kilili (properly),
aku (home),
vini (and),
Alipha (Alpha),
kabilomva (lamb),
nyaku (soil)

BLACK HARMONY Lyrics

Hiphop and Reggae are very dynamic and Black Harmony (from West Nile) are the supreme flag bearers of these genres in Lugbara-land. I prefer categorizing their creations as LugbaRap 'en' Riddim. Savour a few of their lyrics below.

“Leta” in Lugbara means ‘Love’ and this jam is like a courtship song. A man sees a beautiful well disciplined girl and tells her he loves her so much that he cannot sleep. He adds that the overpowering issue leaves him so helpless that the best solution is to marry her and he wants her parents plus brother to know about it quickly. He is ready to pay 100 cows as dowry like the Karimojong do (Even though that number is too high in Lugbara culture) or even pay 100 Million like Europeans do.

[INTRO]
Black Harmony, nice melody. Back once and again with Audio Wave Production.
(Do be 'di X2) Murula 'di ngoyi ka, (Do be 'di X8) 'Badi izamva 'di ngole ya? Murula 'di ngole ka, izamva 'di ngole ya?

[CHORUS]
Geri mini mi aazu taya taya ‘di fe ma asi ni susu
Geri mini guzu miti mitia ‘di ma asi su lu tu yo
Ani a’yo ‘di zamva la ale mi. Kanisi lu mi ise mi ma rua
Ama iciti, a si aku mi ‘be lu, le mi ati me eri e’yo ‘di ndi
Ani lu ale lu mini, E’yo ‘do nde ma okpo ra yo! (Nde ma okpo ra yo)
Eri lu ‘di fe mani, ‘badi, o’du kozukuniya
Le mi andri ma eri e’yo di indi, ‘drusi eri lu ma Chandi ne yo
Ale lu mini e’yo ‘do nde ma okpo ra yo (Nde ma okpo ra yo)
Le mi adri ma eri e’yo ‘di indi, drusi eri lu ma Chandi ne yo.

[VERSE ONE]
Geri ndundusi akini ale lu mi ‘du ni
Zamva ale ini lu ra
Oduko mini nzile di ‘de lu ma bi-a ala tu
Izo la mi ai lu e’yo di
Zamva ale lu mini ndrita mini ndrizu 'di iza ma ma dri lu ni
Sweety la, ale lu mini, ndrita mini ndrizu 'di iza ma ma dri ra
'Bakatelu mi je ti si yo, ma. te nga lu mi je ti 100 [Turu alu] (Karimojongi le)
'Bani mi je silingi si, (Ayi yo) ma nga lu mi je lu Milioni 100 (Eh, muzungu le)
A'dusiku ma adri e’yo ‘di nde ma ra
Ndrita eri ni ndrizu ‘di iza ma ma dri lu ni
Geri ndundusi akini ale lu mi 'du ni
Zamva ale ini lu ra
Adriza mini I'dale ‘di i’de lu ma asia ala tu
Izo la mi ai lu e’yo 'di
Geri ndu dria si akini ale lu mi 'du ni
Zamva la mi ai lu e’yo 'di.

[CHORUS]

[VERSE TWO]
Kadi ovu drioru, ‘da ta lu vini onyiru tu
Zamva a ’yo 'di, Chandi mani isule ‘do si
Ayiko ‘de lu ma asia yo
Desu ale te ‘ba ma oni ‘ba, ayiko fezu aku-a
Anzinyiri ma isu imbata
Drusi drozi lu angu izozu yo. Ani a ’yo di:
E ka ma le ra, le te ile ma avasi tu
De nga podi lu ‘ba sini aku ku
A’dusikuni lu ka te ovu ‘dale ku, ‘da nga ni ayiko fe akua ku
Ani aleta ‘ba ma oni ‘ba
Inzita fezu akua
E’yo woro ka ovu ala
Aku ni nga pa so ani yo
Ka te ovu ‘dale ku, 'da nga ayiko fe akua ku.

[CHORUS]

[OUTRO]
(Do be 'di) X 27
(Woo woo woo yee!)
Murula di ngoyi ka, (Lugbara lediyo, lediyo, lediyo) 'Ba'di izamva di ngole ya?
Murula di ngole ka,
(Ma-i Zakariya-i, ma ti fe 8 [Aro] tua!/ Ata Zakariya. Mba, murula di ce be zo 'da-i ruati (o)nikuni da-i? 'Ba jo mini ma ti fe 12 [Mudri dri iri] sa ‘do si) (Woo loo loo lee!)
Zamva ‘di ngole ya
Murula ‘di ngoyi ka, izamva ‘di ngole ya?
Izamva ‘di ngole ya, Murula ‘di ngoyi ka?
Murula ‘di ngoyi ka, ‘badi izamva ngole ya?
Murula ‘di ngole ka, zamva ‘di ngole ya?
[END]

“Adia” is a song about food en love. The man (Singing Voice) tells his lover to cook for him Mutere (Dried cassava or sweet potatoes cut into small pieces). To this, she can add Greens including adrabi, awiribi, palabi, or dodo. She must not forget salt or an appetizer in this case ‘anyu’ (Groundnut paste, a delicacy in Lugbara culinary arts).

[INSTRUMENTAL INTRO:]

[CHORUS:]
Adia, mutere (Mani lele), Adia mi a’di nga mani mutere (Ai were ci yo)
Adia we, adra bini yo (Mani lele), Adia mi a’di nga mani awiri bi (Le mi ‘iga lu misi)
Adia, pala bi (Mani lele), Adia mi a’di nga mani agobi (Anyu were ci yo)
Adia we dodo si yo (Mani lele), Adia mi a’di nga mani. A’yo
Adia, mutere (Mani lele), Adia mi a’di nga mani mutere (Alaa were ci yo)
Adia we, adra bini yo (Mani lele), Adia mi a’di nga mani awiri bi (Le mi ‘iga lu misi)
Adia, pala bi (Mani lele), Adia mi a’di nga mani agobi (A’i were ci yo)
Adia we ‘badi dodo si yo (Mani lele), Adia mi a’di nga mani. A’yo

[VERSE ONE:]
Izanva ni lu ndri ndri, izamva nil u munyi munyi
Izanva mi lu akaza ru, izamva ndri lu tu ya
Aka lu iri ne milesi, ma asi ni m’buni lu
Ma sende inje mbele lu, malu inje fe erini
Ani a’yo cika ni, zanva mi imu ‘ba si aku
Otraki ‘dosi ‘yo ri a’yi dri’a lu ile ti
Anje afe ra, me isu ‘ba’be sende iyi’a
A’du e’yosi ari izanva ni lu inya a’di ku

[‘Dori nde ma ra, a’yo, ‘do ri nde ma ra yo
‘Do ru ri nde ‘di ma tua ‘badi la
‘Do ri nde ma tua te] X2

[CHORUS:]
(Audiowave)

[BRIDGE:]
Anya ri (Gunya), Idra ri (Taya)
Akini emi dri cika emi imba nga eri ci yo
Anya ri (Gunya), kiri kiri si, a’yo ‘di lu dani ku, ‘di ku
Etto, le ma ra, ale eriraya yo
Te akini emi dri geri azinisi aniniku, ‘di ku
Inya ‘bani a’dileri ndu (Iti’a we ‘di yo)
‘Ba le te ‘di ‘ba e’da e’yo ni ku (Ani ndra ku)
E’yo a’iza ‘bani ci yo (Torozi ‘be)
‘Bile’a eri mu dale di (Ani ‘di ‘bo)
Gunya (Anya ri), Taya, ‘ba dria ni ce lu ‘di mali teria
(Anya ri) Gunya, (Idra ri) Taya, kiri kirisi, a’yo ‘di lu ‘dani ku, ‘di ku
(Mami, emi woro woro emi imba ma indi
Dadi la, azi ciri, mi imba ma indi)

[CHORUS:]

[OUTRO STATEMENT AND INSTRUMENTAL:]
Le ife anzi ma la skulu-i a’dule ku,
Ma nga azi aku-a ‘di indi yo
E’yo ‘diri haki ni
Mama la, mi imba odekua ‘di drio ru
De nga podi cani nga ku
Ka ovu ‘dini ku nga te paso ku eh!
Ata ago ti’a ‘ba nga eri ‘idro ra
Mi isu eri nga lu bani drinja fe aku alia
Ani, le ‘ba imba anji ra!


“Baby Gal” is a fantastic song in at least three languages mixed beautifully with Lugbara. It introduces Lady Shadia from Kampala (Buganda). She is the reference point of this inter-cultural love affair expressed by the lyrics. Her character in the song doesn’t mind that the man interested in her is not from Buganda, what matters is that he shouldn’t be a liar like most Baganda she had seen.

[INTRO:]
Shadia, Harmony, bounce along the kid, curfew the dance hall scene. Here we go.

[CHORUS:]
Me isu mani izamva azi ala ni lu 'bo (Shadia)
Only Number One baby gal (Lady Shadia)
[O yeah, I can’t resist your style even if your baby boy ana ni bamba] X3

[VERSE ONE:]
You know, Black Harmony lu, Lady Shadia be
A’yo mini me isu mani izamva ala ‘di ra. Oku ala ni a’yo ale lu ni ra. A’yo mini me ibi mani oku, Rua ‘be anjuzaru lu mva le (Lady Shadia), aji be lu Aringa ri (Mi ina nanasi le!)
Mileni lu, zamva ‘di ale nda mi inga ngole ya (Mi te ’di a'buani)
Ani ekatro ovu aria ni (Mi te ‘do amamu ni)
Rua ‘be anjuzaru lu mva le (Lady Shadia), adji be lu Aringa ri (Mi ina nanasi le!)
Mileni lu, zamva ‘di ale nda mi inga ngole ya (Mi te ’di a'buani)
Ani ekatro ovu aria ni (Mi te ‘do amamu ni)
Leta mani mi lezu ri, kiri kiri
Zamva aleni mani aparakaru ku
A’dusikuni lu, ma asi oti misi. Ma ‘dua ‘ye aduni?

[CHORUS:]

[VERSE TWO - LADY SHADIA:]
Ma baby boy, mazima oli wadala (Aaah!)
You drive me crazy!
Nze nkwagala ku fa (Mmmm!)
Kati kyensaba kukwanjula mu bakaade (Daddy daddy yeah)
Ofuke omuganda, olinga abaganda (Oh!)
Sikifako oba toli muganda (Uuuh!)
Baganda banji abagala abatali Baganda (Eh!)
Baganda banji bendabye naye nga balimba
Nze ne yagalira gwe, atali mulimba
Nolwekyo mwatu mundeke muwane, musutte, mubitte, mu yiye abatesi
[EMMANUEL:] Ani ra ile ma ra, ale mi ra
Zamva ala ale lu mini ma nga mi du ra yo
Ale mi ra, ile ma ra zamva ala ale lu mini ma nga mi du ra
E’yo adasi, leta leta ama isile’a miberi ma zozo mba alu pere bani ba jeria yo

[CHORUS:]

[RIDDIM BRIDGE by ROBERT:]
Eh, whine your body, move your body
Groove to the beat, don’t have no body?
As we are, inna de place to be
Open @ da club, where we @
Know, we gat one fi de fierce, wid da engine in da air
Two inna de place, we be fierce everywhere
Shaking over here and over there
Shaking over there and over here
Shaking everywhere ‘coz
(Dis is a nu dance hall tune [Yeah!], all de rude boyz dem cool
Chichi man, woman make a fool, to be true
Dat’s tha nu dancehall rule X2)

[CHORUS:] (Audiowave) Yeah!

[SECOND BRIDGE:]
People, are you ready for the dance hall queen?
(Lady Shadia X4 Yes well, we are ready for Lady Shadia)
I said, people are you ready for the dance hall king?
(Black Harmony X4 Yes well, we are ready for Black Harmony) X2

[CHORUS:]


“Anga Azi Avasi!” (Let Us Work With Enthusiasm!) is a song that calls on the community to commit to their professions no matter which one, whether driver, doctor, boda boda or whatever.

[INSTRUMENTAL INTRO:]

[CHORUS:]
(Le anga azi avasi, amani cozu afa amani leri isuzu ra
Le a i’ya anvu avasi, amani cozu nyaka amani leri nyazu fo
Le a dinga nyondo avasi, amani cozu sende amani leri isuzu ra
Le a si kalamu avasi, amani cozu mali amani leri nyazu fo) X2

[VERSE ONE:]
Azi alu alu azi dra dra. Azi kini badi la ale ava yo
Kini ava koko azi nga alu’a ku
Avasi azini nga ni yo. Te ma adripi ale lu mini yo
Inya yoni ile anvu yo. Anvu kini ile ava’i.
Kini ava koko azi nga alua ku
Ava kini ile ovuani ku
‘Desi ovua si azi nga alu. Ovuakoko azini nganiyo
‘Badi la, le anga lu azini yo

[CHORUS:]

[VERSE TWO:]
[ROBERT:] Everybody must work (Don’t give up!)
Even though you’re going down (Don’t give up!)
‘Coz one day you gonn’ make it to the top
Don’t stop, just keep on going on
[EMMANUEL:] Ata kama wewe dreva (Fanya na bidi!)
Ona tesa gari kubua, (Fanya na bidi!)
Osi kosa siku moja, (Fanya na bidi!)
Kila siku fanya kazi, (Fanya na bidi!)
Ata kama wewe doctor, (Fanya na bidi!)
Ona treat kila mutu, (Fanya na bidi!)
Osi kosa siku moja, (Fanya na bidi!)
Kila siku fanya kazi, iii!

[CHORUS:]

[BRIDGE:]
Black Harmony we r tha Wickedest inna de place
Call wid da Wickedest Fire pan de place
Once en agen we r hotta dan fire
Ugandans tire, we r burn lyk fire
We r fire dem
Ala dem, we na play. We murda dem
If dey com inna we way, we no claim no top spot
Run wid da base we gat. Com’ dis, com’ dat, we dat
Coz we no gangsta
Na ruud boi, we rap star
Comin’ an da stage, we actor, cause disaster
Run wid da playaz we gat, ol’ adem just talkin’ about

[CHORUS:]

[INSTRUMENTAL OUTRO:]

Three Short Lugbara Songs

1. Ojolo nya Awubisi, alio ewaru.
Aku ii ni nya njarusi...

2. Adeangu la, agoni abwa ika mbe erua [Logiri dialect]/
Ma nga ma wari isu ra. Ma awa awa. [Longing for the mother. My husband eats his
banana in the granary but me I would share…]

3. Ayi ya ma I’yo, ma I’yo/
Ma ye ago la, Ago ma gapiri/
Ga ma bo. Ma la ma ro’do [Spiritless because of something wrong]/
Ibi idria, enve, ofuta ye...

Short Biography of Jason Avutia, the First Chairman of LULA

He started as a Primary Teacher 1951 – 2, then Tutor 1953 – 1963. He became the Assistant Education Officer (AEO) in Arua 1964 – 1979; AEO in Hoima 1969 – 1971 [This was the time he found placement for my mother]; and AEO in Moyo 1971 – 4 before being promoted to Education Officer. He was transferred to Ministry of Education Headquarters working on Education of teachers and registration, certification plus submission of discipline cases to the Teaching Service Commission. Jason was then transferred as Assistant Provincial Commissioner for Education in the West Nile Region 1977 – 9. Between 1979 and 1982, he was the Education Officer in Arua. After that he retired.

I chatted with Mr. Jason Avutia in June 2009 at his home opposite the Mvara Mission football ground and here are a few of the many wonderful things he shared with me, “GOD has given us (Lugbaras) millet, it makes us strong so that we work. If you don’t work, you will die. (Sir Winston) Churchill is the Greatest Man in British History because he won the war but after office work, he would go home, take off his shirt and perform chores such as weeding in his garden…”
The Lugbara do not have a king, that is someone who brings them together. They do have chiefs though but these do not perform cultural duties. The Agofe (Lugbara for ‘Pillar’) meanwhile has the task to keep Lugbara Heritage alive. He does not necessarily have to be the oldest. According to tribal trivia, Atanva Ezekeli Arinze is the Oldest Lugbara who ever lived 1797 – 1967 [Exactly 170 years]. Although retired, Jason was the Agofe (Tree in the middle of the house where small branches are attached) for some time, “Lugbara Culture teaches you to Respect your Parents (Elders), Not to kill nor murder, Not to commit adultery, Not to steal nor rob, Not to lie, and Not to covet a neighbour’s property…I am a teacher by choice. When a teacher is posted to a village school and after one year s/he leaves, I get angry. They never get to see their first pupils or students grow…”

Jason Avutia was the first chairman of LULA, the definitive authority on Lugbara Literature. Also known as ‘Amuti Lugbara Ti Sipiri’ – Lugbara Literature Association with an office at the Ediofe Highway Arua Resource Centre, LULA was founded in 1994 but registered as an NGO in 1999. It has not been so active in the recent past because of, as Jason says, financial constraints but the fire that has been lighted for the Lugbara community should never be put out…The success of any cause lies in the wisdom of many, so if many people get enlightened about and inspired to support LULA, it should definitely survive and grow bigger…

Black Harmony (West Nile)

Comprising Emmanuel Ledra and Robert Adima, this socially conscious and lyrically wise Lugbara duo is making waves rated one of the best in West Nile, Sudan and the Congo. East Africa is a beckoning frontier and it might not take long before they are recognised more regularly from Bujumbura to Bushenyi, Busia to Bagamoyo; the world at large will also be listening. They do not flaunt silly chains, women nor diamonds and gold nor brag about them like American hiphop rappers but you can measure a lot of worth in Black Harmony's uplifting music. They bring people together. Emma and Bobby hang around their community like any other downtown lad in Arua. Despite being stars, they do not let fame get into their heads. Straight off the streets coming loud and clear with a positive vibration, this dynamic duo are the perfect flag bearers for Lugbara (Ongo) Music.

Emmanuel, the lead singer who does most of the Lugbara raps while his colleague sings in English (with a Reggae flavour as he admitted), first did music in 2003. He formed a club called “Street Culture” but waited two years to produce his first song “Isabella”. Then in 2006, the duo came up with “Munyu Munyu” and “Leta”. “Munyu Munyu” was a very powerful hit (actually used as a ringtone by uganda telecom) that it made a runaway husband return to the four women each of whom he had left with a kid in Uganda.

A female artist named Lady Shadia doing music in Kampala once came to Arua to see how she could take her music to the next level and united with Black Harmony. They produced a quadrolingual hit called “Shadia” or “Baby Gal” which was chosen as a live performance during the 2008 Bell PAM [Pearl of Africa Music] Awards (The collaboration actually scooped the preliminary 2008 Regional Award for West Nile though Dogman won the final award) [but Watch out for 2009]. “Shadia” was the second last song on the “Leta” Album, “Bacaku” which some call “Skulu” is the last one.
The next (and third) album will be called “Ti Icita” meaning “Unity” in Lugbara and includes other languages like Lingala, Swahili, plus English. BH sings about love, community development, parental affection, hard work, procreation and AIDS Prevention.

“The Best Music is Live Music,” Emmanuel confesses and they have performed with Wenge Musica from Congo besides his own project called “Amangonde”. Other moving songs by BH include “Ewa Be Ma Ra”; “Lucky”; “Etoo”; “Adiaa”; “Ti Icita” (Title Track for their 3rd Album); “Jua Kali”; “Anga Azi Avasi”, plus “Silimu”...

The Aura of Arua (January 2006 Article)

VARIETY is the Spice of Life, the Fragrance of Health and the Fire of Taste. It is a reflection of the Beauty of Life. Do you know what’s cooking in Arua’s broadcast kitchen? There is talk of many more radio stations (and TVs) coming soon. Currently though, the Municipality prides itself in four jamming local FM stations on air 18 hours a day (from 6am to 12 midnight because of the WENRECO power schedule) though sometimes transmission continues for 24 hours.
100.9 FM Voice of Life (VOL) a family-oriented, entirely Gospel music and Christian programme-station pioneered local FM broadcasting in the second half of the 90s replacing addiction to BBC on Short Wave and a Sudanese station run by the SPLA rebels.
88.7 Arua One FM followed at the end of 2002 and added real flavour by playing beloved secular music (Hiphop, Utake, Reggae and Lingala) plus introducing the morning crew for fun and games (Operation Thunderbolt by Aaliyah and Uncle Nyaks); the Mid-morning Show by my favourite presenter Hellen Mayele and her sidekick Rose; the Afternoon Lounge that had 15 minutes before 4pm for Indian jams only, to acknowledge the presence of the Indian Diaspora in Arua; the Evening Good Time Show with the Most Hilarious and Entertaining deejay Tobi Tobias aka ‘Dingili ku Dingili, aka High Voltage’ (The whole of Arua misses his jokes and stories)/ General Yiki and Brigadier Braddock. Also Fat Chris featured sometimes. The night had talk shows on different topics throughout the week though the Saturday show was a heated debate (just like Capital Gang on Kampala’s 91.3 FM) in the morning. Tara united lovers so romantically towards midnight that so many male callers actually fell in love with her. Personally, I think she is the Most Comprehensive and intelligent late night show host in the whole of Africa. [Saturday Sports was hosted by an articulate and knowledgeable presenter who claimed to support Tottenham and usually sat in the studio with another knowledgeable sports reporter called Swalley, a son of the soil]. International news comes from Voice of America.
Arua One’s ‘ultimate choice’ programming was so top notch that it probably inspired the other radios which opened two years later. Although 90.9 FM Radio Pacis is part of the Catholic Church’s Arua Diocese Media Centre, it sounds fresh and more dynamically liberal than the Church of Uganda’s Protestant Voice of Life. [They actually won the BBC Award for Best New Radio in the whole of Africa 13 months later from when I wrote this article]. Their foreign news comes from RFI (Radio France International). With the slogan “Peace of Christ for all”, the Ediofe – based Radio Pacis wonderfully accommodates music by worldly musicians who don’t even mention Jesus in their songs. Another paradox is that the Catholic station does not play too many songs worshipping Mary, the Mother of Christ.
The other joint leader in variety, timely relevant news and fantastic flow in programming is 94.1 Nile FM. BBC World Service, the Best on radio, provides global reports at the top of selected hours. Nile FM’s local news team is also the Most Professional from my own observation because of the analysis and sound clips from interviews which brings me to another comparison. BBC may subconsciously or widely lead in news service because that is their first language but Deutsche Welle from Germany (broadcast on the all-Christian Voice of Life FM) challenges on analysis. It is more illustrative though a bit complex.
Also accommodated on the FM band in Arua are a few other stations from outside the ‘heart of darkness’ (What Arua used to be called due to violence). Radio Paidha from Nebbi used to be a favourite before Arua One miraculously obliterated their audience in the district. BBS (Bunyoro Broadcasting Service) from Masindi is enjoyed in a few counties due to wave interferences while Koboko FM (Spirit FM or Bushnet Christian Broadcasting) blends Gospel from England’s The Voice (Formerly Christian Voice) with local music programmes. Koboko [on the Sudan border] was curved out of Arua to form a new district but Arua remained a Model 3 member of the large geographical area and high revenue collecting districts in Uganda.
Satellite TV plays a big part in household entertainment as well as the cinema business but Nile FM’s sister network BTN TV (Bornfree Technologies Network) on UHF 23 is Arua’s own local TV channel. More are yet to come including UNtv and others, GOD-willing. The future looks bright for indigenous broadcasting in West Nile’s capital. Do you smell the future now? Okay the Spice is on the line.
[DISCOVERY TRIVIA: In 1978 during homeboy Idi Amin’s regime, the first Ugandan Satellite Earth Station came on air in Ombachi, Arua. It is still present though requires reviving for everybody to enjoy the full aura of Arua…]