The Pain-bending Ragem Beach

Where can a stressed Lugbara relax his mind? When I first heard about Ragem Beach on River Enyau just over 3 Kms from Arua Town (on the Nebbi Road) sometime at the beginning of the millenium, I thought it was impossible since there was no mapped lake or ocean in the near area. If this beach was really as good as residents claimed, then maybe it was just small but suited for their liking. Definitely, there can't be a distant horizon of water here to let your painful thoughts and agonising experiences sail into oblivion like magic but walking in this mysteriously canopied rivershed can trap them for you. The longest (River Nile) tributary in the West Nile area is River Enyau which you also cross while approaching Ediofe (Name coined because of the many broad leafed and black seeded 'Edio' trees common in the area; 'Fe' means tree). Enyau starts somewhere further south and at Ragem it forms one of the Most Amazing and Unique Sceneries you will ever witness in West Nile. The place is so peacefully hidden that it might not draw attention but when you get there, your mind will take a trip far away from the hustle and bustle of town life characterised by tiresome board meetings, changing car gears, signing papers, photocopying and the noise from generators plus Senke motorbikes. I took a walk to that "beach" on Wednesday 11th November 2009 with a cousin who had just finished his Senior Four UCE exams the previous week and was amazed at how mindbending the river meanders were, things I only read about in Geography textbooks a decade ago. It's not really a sand beach as you might expect but in its own way, it refreshingly brings you close to one of the Elements of Nature, which is Water. When viewed from the north, the Ragem meanders form a shape like the numbers 2 and 5 stretched plus joined together but with rounded bends. This seems like a good place for Christians and others to break bread (you know, like Jesus and the 2 fish plus 5 loaves). There are grass thatched 'payotts' on the banks, big trees, floating roots, several trees forming canopies (that remind you of the beastly River Ruzizi in Burundi or the Amazonic forests in Mel Gibson's exciting movie "Apocalypto") plus three bridges to cross over the meanders though only one seemed to have good side barriers. The sound of water rolling and falling downstream near the most visible starting point of the beach is so refreshing that it reminds you of Adriko's Sunshine Mineral Water or Wavah Water. There is also a dangerous slope on the East End, the deepest as you approach the watershed. On the upper side is a garden where you can relax (like at the Source of the Nile while you watch the Nile in Jinja, the Adventure Capital of East Africa). There is also a building that used to be a bar and restaurant but was unfortunately stripped of its windows. The inspiring artwork on the southern end was also vandalised. You can see that it used to be really wonderful but now is "Not Functioning" until an investor comes and resuscitates the business here. Ragem Beach is a very fine recreation ground that can accommodate picnics, parties and other celebrations. Located about half a kilometre from CEFORD Arua and a few metres after the Ragem Technical Institute signpost, you turn right and cut in about 200 metres. No beer was allowed from outside, refreshment was catered for by the management. From Monday to Thursday, entrance fee used to be 300 UgX, Beer 1,500 UgX and Soda 700 UgX while Friday to Sunday, children would enter for 200 Ugx while adults part with 500 UgX. If this place is redeveloped along with Rhino Camp County banks of the Nile or the resort beach in Chilua or Chilo (Terego), West Nilers can have an alternative for sand beaches they visit elsewhere.

Will the Real Scientists Please Stand Up, Please Stand Up!

Science is the Art of Things, that's my simple understanding of the word as a Graphics Artist. Besides that though, I know that it includes observations and tests in Technology, Medicine plus Agriculture. Many Lugbara are actually involved in these fields from those working for Sugar Companies (in Kakira, Jinja; Lugazi, Mukono plus Kinyara, Masindi); Airlines as Pilots, Telecommunication Companies and Arua Garages to doctors at Mulago Hospital (the Biggest in Uganda) and around the world. The first Ugandan Blood Specialist at Mulago (Died in 2009, Rest In Peace!) was actually from Vurra, Western Arua (Also the Birthplace of Dorcus Inzikuru who must have applied a lot of Science in Athletic Training to achieve unprecedented success for her country).
Sometimes people wonder why there is only one local free-to-air TV station in the Arua area. Is it because of a UCC (Uganda Communications Commission) restriction or inadequate resources? In addition to BTN TV whose transmitter in Anyafio Village (one plot North of the four storeyed Anyafio Model School) is sometimes affected by lightning, there is only WBS (Wavah Broadcasting Service) from Kampala - 530 Kilometres away - whose signals also need an external antenna. Amazingly, the Ombaci Earth Satellite Station, northeast of Arua Town, which WBS uses was the very first in Uganda, set up by homeboy Idi Amin Dada in 1978, a year before he was overthrown. As a consequence, many locals wish that the Government would at least direct the national broadcaster UBC (Uganda Broadcasting Corporation) to be aired in West Nile even though it can be accessed on the Pay per Month DStv (Digital Satellite).

Around 2003, during my Senior Six Vacation and First Year on Campus, I spent either one week or about one month reading a Pure Mathematics Book and Technical Drawing Publication in order to understand the Mechanical Physics of a "Parabola", the standard shape for a Satellite Dish that ensures maximum convergence of reflected electromagnetic signals. I jotted down measurements and made my mini-dish (less than 30 cm in diameter) using wires. I shouldn't have used rubber straps to join the wires because they get holes and rapture after some days. The objective of this experiment was to discern any TV signals within Uganda and from neighbouring Congo plus Sudan. Unfortunately, I was not successful maybe because I did not make an amplifier or decoder to make sense of the signals converged. However, I did not end there. I tried the dish on a radio and one night, I was able to recognise unbelievable stations loud and clear from far and wide on the FM Band (from Capital Radio in Nairobi, Kiss 100 Kenya, Star FM (affiliate of UBC), Top Radio (in Kampala and Masindi) to Capital FM Kampala, my favourite then plus others I do not remember. You couldn't hear them in Arua using a normal aerial). I did not believe my ears so I woke myself up from the impossible Dream during the day by dismantling the dish to make a bigger and stronger one but school life had to go on so I forgot about the remake. Maybe someone else has tried this out before, please let me know which stations you heard! Flashback: During Primary Seven (1996), a classmate of mine called Mukalazi (a Muganda) made a helicopter that could carry two passengers over a distance in the air. During my O' Level (1997 - 2000), some schoolmates in HSC (Higher School Certificate) made a machine that spits out Orbit Chewing Gum when you drop in a coin. In A' Level (2001 - 2), some of my Senior Six yearmates studying a Science combination created a radio transmitter and let me listen in on the other side of their classroom. After witnessing those experiments and others, I believed anything is possible in Africa. If your heart is filled with Faith, then you can't fear. Let GOD deal with your designs. BBC Radio in October 2009 reported that some innovators started mass producing small radio stations recently. They are actually only 18 Kilos heavy and each station can be carried as a briefcase. They are now marketing them around the world. Imagine the refreshing Arua One or the world class Radio Pacis in a briefcase, isn't that incredible? Science and Technology is very liberating indeed. A young man from Malawi once made a Windmill after reading a book in an American sponsored Library and got noticed by some foreigners who saw his machine outside the compound where he was staying despite the fact that some locals regarded him as a mad person. He is now studying on Scholarship in America.

Internet Connectivity is the next frontier for inventiveness. Maybe a brain in Bweyale, Mid West Uganda could shockingly come up with a bright idea to change the way we surf. Okay Hajji Ibrahim, that may be a wild thought before Ramathan but we need to keep looking. With Uganda now connected to SEACOM's fibre-optic intercontinental undersea cable, surfing rates are bound to reduce and bring about a "Bypass to Prosperity" because of increased speeds. Mobile phones changed our world, but the internet is a Resource that has the Potential to bypass that. Today in Arua, you can surf the internet in a cafe at 40(or even 20)UgX per minute (Around 2001, it was 500 UgX per Minute). Others use a small modem (about 8 cm long) from MTN, Warid or UTL unlike in the 1990s where you needed a big dish or big antenna. Things keep getting better as Science tests facts, laws and observations. So, if you are doing anything Scientific or even Artistic, then just keep improving and doing your thing! Say no more!

CHRIST THE KING NURSERY Lyrics

"Education" is a very educative song by CHRIST THE KING KINDERGARTEN ARUA. These kids sang a masterpiece that warns that if you do not study, you may come out a Thief, Gangster, Prostitute or Drunkard en the Police will catch you. This Children's Garden or Nursery as some prefer to call them is found behind the Catholic Centre which is on Arua Avenue, opposite the Arua Local Government and adjacent to the Arua Mental Hospital.

[CHORUS]
Education education. Onita amani ri. Ama mu drile, amama koko! Ama mu drile amama koko!
Education education. Onita amani ri. Ama mu drile, amama koko!

[VERSE ONE]
Ika mini oni ku, mi nga fu oguo ru.
Polisi'i ngonde, mi'i 'bi zu X2
Ama mu drile, amama koko!

[CHORUS]

[VERSE TWO]
Ika mini oni ku, mi nga fu muyaye ru.
Polisi'i ngonde, mi'i 'bi zu X2
Ama mu drile, amama koko!

[CHORUS]

[VERSE THREE]
Ika mini oni ku, mi nga fu malaya ru.
Polisi'i ngonde, mi'i 'bi zu X2
Ama mu drile, amama koko!

[CHORUS]

[VERSE FOUR]
Ika mini oni ku, mi nga fu mulevi ru.
Polisi'i ngonde, mi'i 'bi zu X2
Ama mu drile, amama koko!

[CHORUS]

[BRIDGE]
Mi ovu Chandi si, Evo ma e'yo si.
Silimu 'di ama 'de 'bo, ifu ago ku iselia si.

[CHORUS]

"Onita" is another educative song for the young ones courtesy of CHRIST THE KING NURSERY, ARUA. 'Onita' is the Lugbara word for 'Learning'. In this jam, they poke listeners with some sarcasm, "If education is expensive, then preferably choose ignorance!"

[CHORUS]
Onita ka ovu ajeru, cika ipe aniako ni
'Ba ma la, 'ba ma nya a'di vu, drile 'ba isuzu

[VERSE ONE]
Aka ma sukulu la 'bo, ale mani fu doctor ru.
Aka ma sukulu la 'bo, ale mani fu doctor ru. Onita

[CHORUS]

[VERSE TWO]
Aka ma sukulu la 'bo, ale mani fu polisi ru.
Aka ma sukulu la 'bo, ale mani fu polisi ru. Onita

[CHORUS]

[VERSE THREE]
Aka ma skulu la 'bo, ale mani fu nurse ru.
Aka ma skulu la 'bo, ale mani fu nurse ru. Onita

[CHORUS]

[VERSE FOUR]
Aka ma sukulu la 'bo, ale mani fu karani ru.
Aka ma sukulu la 'bo, ale mani fu karani ru. Onita

[INSTRUMENTAL]

[VERSE FIVE]
Aka ma sukulu la 'bo, ale mani fu askari ru.
Aka ma sukulu la 'bo, ale mani fu askari ru. Onita

[CHORUS]

[VERSE SIX]
Aka ma sukulu la 'bo, ale mani fu imbapi ru.
Aka ma sukulu la 'bo, ale mani fu imbapi ru. Onita

[CHORUS]

[VERSE SEVEN]
Aka ma sukulu la 'bo, ale mani fu padre ru.
Aka ma sukulu la 'bo, ale mani fu padre ru. Onita

[INSTRUMENTAL OUTRO]

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...